EPIC Operation Guide 3.3 Rev-B

955-0002_v3.3, Rev-B COPYRIGHT 2012 RED.cm, Inc.
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TABLE OF CONTENTS

DISCLAIMER ................................. 3
Copyright Notice ........................ 3
Trademark Disclaimer ................ 3
COMPLIANCE ............................... 4
Industrial Canada Emission
Compliance Statements ............ 4
Federal Communications
Commission (FCC)
Statement .................................. 4
Australia and New Zealand
Statement .................................. 5
Japan Statements ...................... 5
European
Union Compliance
Statements ................................ 6
BEFORE YOU START ................... 8
Important Safety
Instructions ................................ 8
THEORY OF OPERATION ............11
MYSTERIUM X
Sensor ...........11
Image Processing .....................11
HDRx .....................................12
Magic Motion ........................13
Audio Recording .......................13
Microphone Level Analog
Inputs ........................................13
Line Level Analog Inputs ...........14
Video Monitoring Outputs .........14
HD-SDI .................................15
HDMI ....................................15
RED LCD / Bomb EVF
............15
REDMOTE
...............................16
Digital Magazine (Media) ...........16
Metadata ..............................17
Clip Naming
Conventions .........................18
SMPTE Timecode ................19
Power Consumption ............19
CAMERA OPERATIONAL
CONTROLS ..................................19
Brain .........................................20
Side SSD Module .....................21
Side Handle ..............................23
Top .......................................23
Front .....................................24
Rear ......................................25
Installation / Removal ...........27
DSMC Modules ........................29
Pro I/O Module .....................29
Rear SSD Module.................30
Quad Battery Module ...........30
Dual Battery Module ............31
Module Installation /
Removal ............................... 32
REDMOTE ................................ 36
Displays .................................... 38
BOMB EVF and Bomb
EVF (OLED) .......................... 38
Touchscreen LCD ................ 39
BASIC OPERATION ..................... 40
Power Sources ......................... 40
Side Handle ......................... 40
Quad Battery Module .......... 41
REDVOLT and REDVOLT
XL ........................................ 41
BACKPACK
QUICKPLATE ....................... 42
AC POWER ADAPTOR -
(DSMC) ................................ 43
External DC Power .............. 44
Power UP ............................. 45
Power Down ........................ 46
Graphical User Interface
and Navigation ......................... 47
RED LCD/Touchscreen
LCD, BOMB EVF,
External Monitors ................. 47
Side Handle ......................... 54
REDMOTE ........................... 54
Navigating Menus .................... 55
Using Touchscreen LCD .......... 56
Touchscreen Shortcuts ....... 57
Accessing Soft Keys ............ 58
Power Down ........................ 59
Lock / Unlock
Touchscreen Opreration ...... 60
FIRST TIME USE SETTING
UP YOUR RED EPIC .................... 61
Attach Power Source ............... 61
Battery ................................. 61
Quad Battery Module .......... 62
RED Brick ............................ 63
DC Power ............................ 63
Power UP ................................. 63
Preparing to Record ................. 63
Connect and Format
Media ................................... 63
Perform a Black Shading
Calibration ........................... 64
Adjust Project Settings ........ 65
Recording ................................. 67
Record Indicator .................. 67
Playback ................................... 68
MENU CONTROLS ...................... 69
Adjustments ............................. 69
Basic Setting
Adjustments ........................ 69
Advanced Setting Menus .... 70
MAIN MENU ................................ 71
FPS .......................................... 71
Varispeed ............................ 71
Basic Settings ..................... 72
Advanced Settings .............. 72
ISO (Sensitivity) ........................ 73
F Stop ...................................... 73
Exposure .................................. 75
Basic Settings ..................... 75
White Balance .......................... 78
Basic Settings ..................... 78
Resolution ................................ 80
REDcode .................................. 81
REDcode Options for
Various Frame Rates ........... 82
SECONDARY MENUS ................. 83
HDR Menu ............................... 83
HDR ON / OFF .................... 83
Stops ................................... 83
Focus Menu ............................. 84
Mode ................................... 84
DSMC Canon Mount
Electronically Supported
Lenses ................................. 87
DSMC Leica-M Mount
Lenses ................................. 87
Zones .................................. 88
Lens Information Display ......... 91
RED DSMC Ti PL Mount
+ Lens ................................. 91
DSMC Canon Mount +
Lens ..................................... 92
Presets Menu ........................... 93
Camera Presets ................... 93
LOOKs Presets .................... 97
Auto Presets ........................ 97
Media Menu ............................. 98
Select Media ....................... 98
Format Media ...................... 98
Eject Media ......................... 99
Utilities............................... 100
Settings Menu ........................ 101
Display............................... 101
Look .................................. 115
Project ............................... 119
System Status ................... 121
Audio/Video ....................... 122
Setup ................................. 128

COPYRIGHT 2012 RED.com, Inc. 955-0002_v3.3, Rev- B
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Maintenance.......................139
Playback ............................147
Power .....................................157
Power Status ......................157
Shutdown ...........................158
APPENDIX A: UPGRADING
CAMERA FIRMWARE ................159
Verify Current Camera
Firmware .................................159
Upgrade Procedure ................159
Restore Default Factory
Settings ...................................159
APPENDIX B: MANAGING
DIGITAL MEDIA ..........................160
Media ......................................160
Formatting Media ...................160
Media Capacity Remaining
Status .....................................162
Eject Media from Camera
(Unmount) ...............................162
Using REDMOTE /
Touchscreen LCD ..............163
Using Side Handle .............164
Using Side SSD ..................164
Copying Media .......................164
Erasing Media .........................165
Macintosh OS X .................165
Windows ............................165
APPENDIX C: INPUT /
OUTPUT CONNECTORS ...........166
Camera Brain Front ................166
MIC-1, MIC-2
(Microphone Audio) ............167
Camera Brain Rear .................168
HD-SDI ...............................169
Headphone.........................170
SYNC (Video Sync) ............170
CTRL (RS232 Control) ........173
GIG-E (Ethernet) .................174
DC IN (Power Input) ...........175
HDMI Out ...........................176
Side SSD Module ...................177
REDMOTE ..............................178
APPENDIX D: Audio
Subsystem Information .............179
Audio Format ..........................179
Channel Setup ........................179
Source Selection ....................179
Channel Modes ...................... 180
Balanced Microphone........ 180
Unbalanced Microphone ... 180
Balanced Microphone
with 48V Phantom Power .. 180
Line in 0 dBu ...................... 180
Line In 0 VU ....................... 180
Limiter ................................ 181
Audio Recording..................... 181
Peak Meter ............................. 182
Data Path ............................... 183
HD-SDI/HDMI Embedded
audio ...................................... 183
Input Control .......................... 184
Output Control ....................... 184
Digital Mixer ........................... 185
Audio During Playback ........... 185
APPENDIX E: DEFAULT
KEY FUNCTIONS ....................... 186
APPENDIX F: REDMOTE
OPERATION ............................... 188
Control, Connectors and
Display.................................... 188
Controls ............................. 188
Operation ............................... 191
Docking and Undocking .... 191
Power Up / Down .............. 192
Recording .......................... 194
Accessing Camera
Controls / Settings ............. 194
ADVANCED
OPERATION: REDMOTE
Menus ................................ 196
Maintenance ........................... 204
Internal Battery .................. 204
Upgrading REDMOTE
Firmware ............................ 206
APPENDIX G: 3D SETUP /
OPERATION ............................... 219
Overview ................................ 219
Camera Setup ........................ 219
Master Camera .................. 219
Slave Camera .................... 220
Clip Naming Conventions ....... 220
Reel No. / Slate (Camera
ID) / Camera Position ......... 220
Connecting Cameras.............. 221
Operation ............................... 222
Changing Settings ............. 222
Recording .......................... 222
Power Down ...................... 222
APPENDIX H: EXPOSURE
USING FALSE COLOR AND
ISO.............................................. 223
Underexposure (~ 2 stops) .... 223
Overexposure (~ 2 stops) ....... 225
Appropriate Exposure ............ 228
Adjusting the ISO Rating ........ 231
APPENDIX I: POST-
PRODUCTION ........................... 233
Monitoring .............................. 233
REDCINE-X
PRO ............. 234

APPENDIX J:
MAINTENANCE ......................... 235
Cleaning ................................. 235
Camera And Accessory
Exterior Surfaces ............... 235
Brain .................................. 235
LCD Screen
(Touchscreen / Non-
Touchscreen) ..................... 235
EVF .................................... 236
REDMOTE Screen ............. 236
Lenses ............................... 236
Side Handle LCD ............... 236
Back Focus Adjustment ......... 237
APPENDIX K:
TROUBLESHOOTING ............... 240
No Media Attached ................ 240
Recording Halted: Record
Error - Shutdown ................... 240
Preset Could Not Be
Applied ................................... 240
Camera Cannot Be Paired
to REDMOTE ......................... 240
Cannot See Menus on LCD
Touch Screen ......................... 240
APPENDIX L: TECHNICAL
SPECIFICATIONS ...................... 241
Camera Brain Dimensions ..... 242
APPENDIX M: RESOLUTION
CHART ....................................... 246
APPENDIX N: MENU MAPS ...... 247

RED EPIC
Operation Guide
EPIC-M / EPIC-X
Version 3.3, Rev-B

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DISCLAIMER
RED
has made every effort to provide clear and accurate information in this Operation Guide, which is
provided solely for the users information. While thought to be accurate, the information in this document
is provided strictly as is and RED will not be held responsible for issues arising from typographical errors
or users interpretation of the language used herein that is different from that intended by RED. All safety
and general information is subject to change as a result of changes in local, federal or other applicable
laws.
RED reserves the right to revise this Operation Guide and make changes from time to time in the content
hereof without obligation to notify any person of such revisions or changes. In no event shall RED, its
employees or authorized agents be liable to you for any damages or losses, direct or indirect, arising from
the use of any technical or operational information contained in this document.
For comments or questions specifically about the Operations Guide content, please send a detailed
message to OpsGuides@red.com.
COPYRIGHT NOTICE
COPYRIGHT 2012 RED Digital Cinema
All trademarks, trade names, logos, icons, images, written material, code, and product names used in
association with the accompanying product are the copyrights, trademarks or other intellectual property
owned and controlled exclusively by Red Digital Cinema.
TRADEMARK DISCLAIMER
All other company, brand and product names are trademarks or registered trademarks of their respective
holders. RED has no affiliation to, is not associated or sponsored with, and has no express rights in third-
party trademarks. MAC
and QuickTime
are registered trademarks of Apple, Inc. Intel
is the registered
trademark of Intel Corporation. Windows
, Microsoft Windows
and Windows Vista
are the registered

trademarks of Microsoft Corporation. AVID
is a registered trademark of Avid Technology, Inc. NUKE is a

trademark of The Foundry Visionmongers Ltd. Torx
is a registered trademark of Textron, Inc. Canon
and
EOS
are registered trademarks of Canon Kabushiki Kaisha Corporation.

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COMPLIANCE
INDUSTRIAL CANADA EMISSION COMPLIANCE STATEMENTS
This device complies with Industry Canada license-exempt RSS standards RSS 139 and RSS 210.
Operation is subject to the following two conditions: (1) this device may not cause interference, and (2)
this device must accept any interference, including interference that may cause undesired operation of the
device.
This Class B digital apparatus complies with Canadian ICES-003.
Le prsent appareil est conforme aux CNR d'Industrie Canada applicables aux appareils radio exempts
de licence. L'exploitation est autorise aux deux conditions suivantes : (1) l'appareil ne doit pas produire
de brouillage, et (2) l'utilisateur de l'appareil doit accepter tout brouillage radiolectrique subi, mme si le
brouillage est susceptible d'en compromettre le fonctionnement.
Cet appareil numrique de la classe B est conforme la norme NMB-003 du Canada.
FEDERAL COMMUNICATIONS COMMISSION (FCC) STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital
device, pursuant to part 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This
equipment generates, uses and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and on, the user is encouraged to try to
correct the interference by one or more of the following measures:
1. Reorient or relocate the receiving antenna.
2. Increase the separation between the equipment and receiver.
3. Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
4. Consult the dealer or an experienced radio/TV technician for help.

In order to maintain compliance with FCC regulations, shielded cables must be used with this
equipment. Operation with non-approved equipment or unshielded cables is likely to result in
interference to radio and TV reception. The user is cautioned that changes and modifications
made to the equipment without the approval of manufacturer could void the users authority to
operate this equipment.
Note: This device complies with Part 15 of the FCC Rules

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Operations subjected to the following two conditions (1) this device may not cause harmful interference,
and (2) this device must accept any interference received, including that may cause undesirable
interference.
Caution: Exposure to Radio Frequency Radiation.
The device shall be used in such a manner that the potential for human contact is minimized
This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment.
This equipment should be installed and operated with a minimum distance of 20cm between the radiator
and your body.
Caution: Regulations of the FCC and FAA prohibit airborne operation of radio-frequency wireless devices
because there signals could interfere with critical aircraft instruments.
Caution: If the device is changes or modified without permission from RED, the user may void his
or her authority to operate the equipment.
AUSTRALIA AND NEW ZEALAND STATEMENT
RED declares that the radio equipment described in this document comply with the following
international standards.
IEC 60065 - Product Safety
ETSI EN 300 328 - Technical requirement for radio equipment

RED declares digital devices described in this document comply with the following Australian and New
Zealand standards.

AS/NZS CISPR 22 Electromagnetic Interference
AS/NZS 61000.3.2 Power Line Harmonics
AS/NZS 61000.3.3 Power Line Flicker
JAPAN STATEMENTS
This is a Class B product based on the standard of the Voluntary Control Council for
Interference (VCCI) for information technology equipment. If this equipment is used near a
radio or television receiver in a domestic environment, it may cause radio interference.
Install and use the equipment according to the instruction manual.

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EUROPEAN UNION COMPLIANCE STATEMENTS
RED declares that the radio equipment described in this document comply with
the R&TTE Directive (1999/5/EC) issued by the Commission of the European
Community.
Compliance with this directive implies conformity to the following European Norms (in brackets are the
equivalent international standards).
EN 60065 (IEC 60065) Product Safety
ETSI EN 300 328 Technical requirement for radio equipment
ETSI EN 301 489 General EMC requirements for radio equipment.
Information
Products with the CE marking comply with the EMC Directive (2004/108/EC) and the Low Voltage
Directive (2006/95/EC) issued by the Commission of the European Community. Compliance with these
directives implies conformity to the following European Product Family Standards.
EN 55022 (CISPR 22) Electromagnetic Interference
EN 55024-1 (CISPR 24) Electromagnetic Immunity
EN 61000-3-2 (IEC610000-3-2) Power Line Harmonics
EN 61000-3-3 (IEC610000) Power Line Flicker
EN 60065 (IEC60065) Product Safety

Usage Restrictions for Products that Incorporate REDlink
Products that fall into this category are denoted by inclusion of the Class 2 identifier symbol (exclamation
mark in a circle) accompanying the CE Mark on the products regulatory label, example below:

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France
Usage Restrictions - Geographic Area Where Restriction Applies : France
For mainland France
2.400 - 2.4835 GHz (Channels 1-16) authorized for indoor use
2.400 -2.454 GHz (Channels 1-10) authorized for outdoor use
Restrictions d'utilisation - Zone gographique o les restrictions s'appliquent : France
Pour la France mtropolitaine
2.400 - 2.4835 GHz (Canaux 1 16) autoris en usage intrieur
2.400 -2.454 GHz (canaux 1 10) autoris en usage extrieur
Norway
This subsection does not apply for the geographical area within a radius of 20 km from the centre of Ny-
lesund
Dette gjelder ikke for det geografiske omrdet innenfor en radius av 20 km fra sentrum av Ny-lesund
The Waste Electrical and Electronic Equipment (WEEE) mark applies only to countries
within the European Union (EU) and Norway. This symbol on the product and
accompanying documents means that used electrical and electronic products should not
be mixed with general household waste. For proper treatment, recovery and recycling,
please take this product to designated collection points where it will be accepted free of
charge. Alternatively, in some countries you may be able to return your products to your
local retailer upon purchase of an equivalent new product.
Disposing of this product correctly will help save valuable resources and prevent any potential negative
effects on human health and the environment, which could otherwise arise from inappropriate waste
handling. Please contact your local authority for further details of your nearest designated collection point.
Penalties may be applicable for incorrect disposal of this waste, in accordance with you national
legislation.
For business users in the European Union, if you wish to discard electrical and electronic equipment,
please contact your dealer or supplier for further information.
Responsible party:
Red Digital Cinema

34 Parker
Irvine, CA 92618
USA

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BEFORE YOU START
Congratulations on your purchase of a RED DSMC
Digital Still and Motion Camera.

Please read the attached safety instructions, and only then unpack the camera body and any accessories.
If there is any physical damage or missing components for either your camera body or any accessories,
please file a support ticket at www.RED.com/support.

RED EPIC Digital Still and Motion Camera
IMPORTANT SAFETY INSTRUCTIONS
READ BEFORE USING YOUR CAMERA
A. Heed all cautions and warnings in these instructions.
B. Read these instructions before operating the camera and accessories.
C. Follow these instructions while operating the camera and accessories.
D. Keep these instructions with the camera and accessories at all times.
E. DO NOT attempt to modify, dismantle or open your camera, lens or other accessory as doing so may
expose you to electric shock and serious injury. There are no user-serviceable parts inside. Alteration
or repairs made to the camera, lens or other accessory, except by a RED authorized service facility,
will void the Limited Warranty. Users are not permitted to make design changes or otherwise modify
the operation of the camera, lenses or other accessories, without the express written approval of RED
DIGITAL CINEMA.
F. Only use attachments/accessories specified by RED.
G. Install camera and accessories in accordance with the manufacturers instructions.
H. Avoid imaging of laser beams as they may cause damage to the sensor.
I. DO NOT use the camera or accessories near water. Avoid exposing your camera to moisture. The unit
is not waterproof, so contact with water could cause permanent damage to the unit as well as electric

9 9
shock and serious injury to the user. DO NOT use the camera in the rain or under other conditions with
high moisture without appropriate protection, and immediately remove power source if camera or
accessories are exposed to moisture.
WARNING: To reduce the risk of fire or electric shock, do not expose the camera or accessories to
rain or moisture.
J. DO NOT expose your camera to excessive vibration or impact (shock). Be careful not to drop your
camera. Internal mechanisms may be damaged by severe shock. Mechanical alignment of optical
elements may be affected by excessive vibration.
K. ELECTROMAGNETIC INTERFERENCE: The use of devices using radio or other communication
waves may result in the malfunction or interference with the unit and/or with audio and video signals.
L. Clean only using a dry cloth. When cleaning your camera, remember that it is not waterproof and
moisture can damage electronic circuitry. DO NOT rinse or immerse any element of the camera, lens
or other accessory, keep them dry at all times. DO NOT use soaps, detergents, ammonia, alkaline
cleaners, and abrasive cleaning compounds or solvents. These substances may damage lens
coatings and electronic circuitry.
M. Maintain sufficient ventilation - DO NOT block any ventilation openings or obstruct cooling fan airflow.
CAUTION: Proper camera ventilation requires a minimum 1/2 (1,25cm) clearance between the
camera ventilation openings and external surfaces. Verify that objects that can block the fan intake
and exhaust ports do not impede airflow. Failure to permit adequate airflow may result in
overheating of the camera, degraded operation and in extreme situations, damage to the camera.
N. DO NOT operate or store near any heat sources such as radiators, heat registers, stoves, or any other
apparatus that produce heat. Store in a protected, level and ventilated place. Avoid exposure to
temperature extremes, damp, severe vibration, strong magnetic fields, direct sunlight or local heat
sources during storage. Remove any batteries from the camera before storage. Recommended
storage and usage temperatures for your camera, lenses and other accessories are:
a. Operating range: 0C to +40C (32F to 104F)
o Storage range: -20C to +50C (-4F to 122F)
If there are any performance issues with your camera or accessories when operating within this
temperature range, please file a support ticket on www.RED.com/support.
O. The Side Handle, Side SSD Module, Rear Modules and Lens Mount are NOT HOT SWAPPABLE
meaning you cannot remove or install them while the camera is powered on. Before installing or
removing any of these accessories, you MUST power down the camera. Failure to do so may result in
damage to the accessory and / or camera brain that will not be covered under warranty.
P. Do not bypass the third prong of the grounding-type plug on the power cord of the AC Power
Adapter. A grounding-type plug has two blades and a third grounding prong. The third prong is
provided for your safety. A grounding-type plug shall be connected to an outlet with a protective
earthen connection. If the grounding-type plug does not fit into your outlet, do not attempt to modify
the plug or outlet, consult a qualified electrician.
Q. Protect all power cords from being pinched, walked on or driven over by a vehicle. Replace any power
cords suspected of sustaining damage due to crushing or other forms physical damage.

10 10 10 10
CAUTION: The power cord plug for the AC Power Adapter is used as the power disconnect. To
disconnect all power from the AC Power Adapter, unplug the power cord plug from the wall outlet.
During use, the power cord plug should remain easily accessible at all times.
R. Lithium Ion batteries may be subject to special handling requirements pursuant to federal and local
laws. Please refer to specific shipping instructions included with your battery regarding proper
transport of your battery. Do not handle your battery if it is damaged or leaking. Disposal of batteries
must be in accordance with local environmental regulations. For example, California law requires that
all rechargeable batteries must be recycled by an authorized recycle center. Storing batteries fully
charged or in high temperature, conditions may permanently reduce the life of the battery. Available
battery capacity may also be temporarily lessened after storage in low temperature conditions.
WARNING: Do not expose the battery to excessive heat.
WARNING: Danger of explosion if an incorrect battery is charged with the RED Charger or is used
to power the camera and accessories. Replace only with the same or equivalent type battery.
CAUTION: Refer all service and repair to qualified RED service personnel. To reduce the risk of
electric shock, and damage to the camera or accessories, DO NOT attempt to perform any
servicing other than any procedures that are recommended in the operating instructions.

11 11
THEORY OF OPERATION
The RED family of Digital Still and Motion Cameras (DSMC) provide high performance digital imaging over
a wide range of frame rates and optical formats including Super 35mm / APS-H. The RED DSMC camera
is supplied as standard with a PL mount, and may be configured with mounts and 19 mm rods to
accommodate most cinematography lenses, matte boxes and follow focus systems. Adaptors for 15mm
offset studio and 15mm lightweight rods are also available.
In addition to compatibility with the majority of existing PL mount cinematography lenses; a select range
of Super 35mm PL mount prime and zoom lenses are available from RED.
Other lens mounts, including the DSMC Canon mount are available, permitting the use of Canon EF and
EF-S photographic lenses. The Canon mount can report lens iris, focus and zoom data when mated to an
appropriate lens. In addition, iris and manual or auto-focus settings may be controlled from the camera.
Lens mounts may be exchanged in the field, however it is highly recommended that this be performed in a
dust-free environment, as the optical path will be exposed to the elements during this process.
A B4 mount to PL mount adaptor is also available to permit use of 2/3 HD broadcast lenses on the RED
DSMC camera. The optical coverage it provides is approximately equivalent to 16mm, hence the
maximum recording resolution operating with a B4 mount 2/3 lens is 2K (2048 x 1152 pixels) progressive
scan.
MYSTERIUM X
SENSOR
The MYSTERIUM X sensor has been specifically designed for use with the RED DSMC camera, and
provides variable frame rate imaging at up to 120fps at 5K resolution, and up to 240 fps at 2K resolution.
Native color balance for the MYSTERIUM X sensor is 5,000 KELVIN, but it may be electronically
compensated for any color temperature in the range 1,700 to 10,000 KELVIN. White balance preset
values include Tungsten (3200K) and Daylight (5600K) light sources. The camera may also calculate a
color neutralizing White Balance value on demand by imaging on a standard white or 18% grey card.
The MYSTERIUM X sensor includes high precision analog to digital conversion, capable of delivering up
to 13.5 stops of dynamic range with daylight light sources over a camera sensitivity rating of 320-800 ISO.
In HDR mode, dynamic range can be extended to approximately 18 stops.
IMAGE PROCESSING
The digital image received from the sensor is formatted as a pixel defect corrected (but in all other
aspects unprocessed) 12-bit, 14-bit or 16-bit per pixel RAW data frame. When operating in STILLS mode,
each image received from the sensor is treated as a unique FRAME; however when operating in MOVIE
mode, successive images received from the sensor are collected together into a CLIP. In all other regards,
a frame of information gathered in STILLS mode or MOVIE mode is identical.
Each RAW frame or sequence of RAW frames in a clip is compressed using proprietary wavelet based
REDCODE
RAW compression, then stored to a digital media Magazine such as REDMAG 1.8 SSD.
When recorded, the RAW data is independent of any RGB domain color processing such as ISO, White
Balance or other RGB color space adjustments made by the camera operator. These parameters are
saved with the RAW data as reference METADATA; i.e. color is not burned into the recorded RAW data.

12 12 12 12
This recording technique permits RGB color processing choices to be deferred to post-production or to
be adjusted in the field to help a director visualize alternative color treatments, without affecting the
recorded RAW datas image quality or dynamic range.
The cameras monitoring path converts RAW sensor data to a white balanced 12-bit depth 2048 x 1080
pixel RGB 4:4:4 video signal. This signal may be modified using ISO, White Balance or other RGB color
space adjustments as desired by the operator, and is then scaled and gamma corrected to provide
VIEWFINDER, HD-SDI and HDMI monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4
RGB.
Frame guides and other camera data may be added as desired by the user to one or more of the outputs.
NOTE: The supplied REDCINE-X
PRO application software can create and export .RMD color

look files which may then be imported as camera monitor path color processing PRESETs. This
information is stored as reference metadata, so that this color processing choice can be the
default value used in Post-production. Refer to SECONDARY MENUS > PRESETS for details how to
import and apply .RMD file metadata.
HDRX
HDRx is an option for extending dynamic range up to 6 stops over the base Dynamic Range offered by
the camera. When enabled HDRx simultaneously shoots two images of identical resolution and frame rate
- a normally exposed primary track (A-track), and an underexposed secondary track (X-track) whose
exposure value reflects the additional stops of highlight protection desired.
i.e. if you select an HDR value of +2 and your primary track exposure is 1/48th sec, the secondary track
exposure will be 2 stops under, or 1/192 sec. The ISO and Aperture remain the same for both exposures.
During acquisition and recording, the two tracks are "motion-conjoined", meaning there is no gap in time
between the two exposures. This is very important to note because if they were traditional alternating
exposures, there would be a time gap between the two tracks that would show up as an undesirable
motion artifact. Both tracks (A & X) are stored in a single .R3D
file.
Since there are two exposures in HDRx mode, the camera is recording double the amount of frames each
second. For example, when shooting at 24fps, the camera is recording two 24fps tracks, which is the data
rate equivalent of 48fps; however after combining the A and X tracks in post-production you will see only
one 24fps blended image sequence.
HDRx provides multiple options for exploitation in post-production.
Blend the two tracks in post tools like REDCINE-X, Storm or any other application that supports the
SDK to create Magic Motion. This blending of the two tracks comes with a slider so you can decide
just how much of each track you want to use. A preview window shows you the combined result of
your selection, or you can view each track individually.
Combine the two tracks using MNMB (More Normal Motion Blur). MNMB is designed to emulate the
motion of a traditional camera with full motion blur. This is a tool created by The Foundry that uses a
new motion estimation algorithm designed specifically for HDRx. The shorter exposure (sharper
image) is blended to match the motion blur of the normal exposure. Again, a preview window shows
the combined result of your selection, or you can view each track individually.
Use the X-track data for motion tracking, then combine the X-track with the A-track, or just motion
stabilize the A-track using the motion analysis data extracted from the X-track.

13 13
Exporting to EXR file format will give you a multi-view EXR with both exposures (like a stereo EXR).
NOTE: If you ignore the X-track data, you will have a standard exposure with up to 13.5 stops of
dynamic range just as if you had not enabled HDRx. For this reason, we encourage the A-track
exposure to be "normal" as it provides the most options. If you are tempted to shoot "over-under",
you are then fully committed to using HDRx and your post-production options are reduced.
NOTE: When recording in HDRx mode the camera records twice as many frames per second so the
maximum frame rate or minimum REDCODE ratio, and the maximum record time on your media
will be cut in half.
MAGIC MOTION
Shooting at 24fps and with an 180 degree (1/48th) shutter on a film or digital camera may create an
optical illusion we are familiar with, however it is not really the way the eye sees motion. To understand
this, ask someone to stand in front of you and swing their arm over their head from one side to the other.
What you would observe in the recording is a constant motion blur until the arm stopped. What your eye
sees though is both motion blur AND a sharper reference to the arm and hand all along the motion path.
"Magic Motion" provides such a combination of motion blur (A-track) and a sharper reference (X-track),
with the bonus of extreme dynamic range not available with any other motion capture camera system.
AUDIO RECORDING
The RED DSMC camera can record up to two discreet channels of microphone level uncompressed 24-
bit, 48 KHz audio (four channels of microphone level or line level audio inputs when equipped with a PRO
I/O Module), that are synchronized with video and timecode to a REDMAG 1.8 SSD digital media
Magazine.
Input signals are routed via a high quality pre-amplifier and soft clip analog limiter in order to achieve the
desired audio reference / recording level and maximize dynamic range.
To assist with audio reference level setup, the camera provides a color-coded Audio Level Meter in the
Graphical User Interface. Meter range is 36dBu to +20dBu (-56dBFS to 0dBFS) with audio input type,
reference level and audio input clipping indicators.
Audio monitor output options include a 2-channel headphone output on the camera Brain and 2-channel
line level analog outputs from the optional PRO I/O Module, plus 2-channel and 4-channel 24-bit 48KHz
uncompressed digital audio embedded in the HD-SDI and HDMI outputs.
MICROPHONE LEVEL ANALOG INPUTS
The recording level of a Microphone input is affected by the sensitivity of the microphone and the Gain
setting of the cameras pre-amplifier. Available pre-amplifier range is +15dB to +57dB, with a default value
of +17dB. The camera operator should choose a Gain value that aligns the input signal to the 0dBu
reference line drawn on the cameras Audio Level Meter (or the 0VU reference line if operating at that
level).
This setting provides up to 30dB of input signal headroom above reference 0dBu level before clipping (up
to 26dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.

14 14 14 14
LINE LEVEL ANALOG INPUTS
The recording level of a Line input is affected only by the signal provided by the field production sound
mixer or other external line level source. The sound mixer operator should choose a mixer output level
that aligns a reference tone signal to the 0dBu (-20dBFS) reference mark drawn on the cameras Audio
Level Meter, or if using 0VU as reference level, a mixer output level that aligns a reference tone signal to
the 0VU (-16dBFS) reference mark.
This setting provides up to 24dB of input signal headroom above reference 0dBu level before clipping (up
to 20dB above 0VU reference level) and maximizes the signal to noise ratio of the 24-bit digital recording.
VIDEO MONITORING OUTPUTS
In its default configuration, the RED DSMC camera can simultaneously support one VIEWFINDER output
(suitable for use by a BOMB EVF
, or RED LCD) plus one PROGRAM output and one PREVIEW output
(suitable for use by HDMI or HD-SDI monitors). The various monitor outputs can support a set of overlay
graphics including camera GUI, timecode, clip name and framing guides; the specific overlay graphics for
each type of output is user configurable.
The default VIEWFINDER output is the EVF / LCD connector located on the front face of the Side SSD
Module. If neither of these is connected, the VIEWFINDER output can be transferred to either the HDMI
output or the HD-SDI output of the camera Brain.

15 15
HD-SDI
A 720p or 1080p progressive scan output suitable for monitoring or recording to an external VTR or DDR
device. May be configured for 10-bit LIN (VIDEO) or 10-bit LOG (FILM) encoded data.
HDMI
A 720p or 1080p progressive scan output suitable for monitoring via a PC monitor or most HDTV displays.

Example of HDMI Monitor Output in MENUS mode.
RED LCD / BOMB EVF

The optional RED LCD and BOMB EVF are specialized video monitors that provide the user with a variety
of tools to assist framing, focus and exposure, including:
- Surround View, which is an additional look around area, visible outside of the recorded image.
- Frame Guides, showing common film presentation and television aspects such as 2.40:1 and 16:9.
- Focus, aided by high display resolution, 1:1 Focus Check function and False Color overlay.
- Exposure, aided by dual Zebras, False Color overlay, RAW Traffic Lights and RGB histogram.
- System information including current frame rate, ISO rating, shutter speed, color temperature, record
resolution, record quality, clip name, timecode value and the remaining battery and media capacity.
For applications where use of an attached RED EVF or RED LCD is not desired for example when
working on a crane the VIEWFINDER / MENU output can be transferred to the HD-SDI or HDMI outputs,
supporting remote camera monitoring up to 200 ft away.

16 16 16 16
REDMOTE

REDMOTE is a camera control unit for REDs family of DSMC cameras that attaches to the rear of the
camera Brain or rearmost expansion module. REDMOTE may also be detached from the camera or
rearmost module and provide wireless remote control of the camera over proprietary REDlink protocol.
Whether attached or operating via wireless, REDMOTE supports all controls necessary to operate the
camera, including Record Start / Stop, Shutter Speed, White Balance, ISO and programmable User Keys.
A color LCD displays critical camera parameters, including media and battery capacity, timecode and clip
name, lens data and exposure information.

REDMOTE LCD display
REDMOTE includes a rechargeable Li-Ion battery, which automatically re-charges when attached to the
camera or rearmost module. It may also be re-charged by connecting to a USB 2.0 based power source
such as a laptop PC or cell phone charger. Under typical operating conditions, REDMOTE should operate
for up to 8 hours without requiring a re-charge and support a wireless communication range of
approximately 50 ft.
DIGITAL MAGAZINE (MEDIA)
REDCODE RAW compressed MOTION clips and STILL images; time code, multi-channel audio and
metadata may be recorded to a REDMAG 1.8 SSD magazine of 64GB, 128GB, 256GB, or 512GB
capacity.
Each clip is recorded with a unique name in a clip folder with the extension .RDC. This folder contains all
appropriate information describing the clip, including one or more REDCODE RAW .R3D files and all color
grading metadata and other system level metadata such as lens and location information. Refer to CLIP
NAMING CONVENTIONS.
The individual clip folders are placed into a magazine folder (i.e. root directory) on the digital media. This
magazine folder has the extension .RDM. As this folder contains all the recorded clips; copying all clips
recorded on the SSD to other media may be performed by a drag and drop operation on the .RDM folder.
Note: When using a RED STATION in conjunction with a 512GB REDMAG, an AC Power Adaptor
will be required for offload. The RED STATION may not function properly when powered by a USB
or Firewire cable.

17 17

Typical Magazine Folder and clip structure
For additional information about digital magazines, refer to APPENDIX B: MANAGING DIGITAL MEDIA.
METADATA
REDs family of DSMC cameras record the Metadata, which is data for each frame of the recording:
Clip Name
Time Code
Date and GMT
Lens and shutter speed /
angle parameters
Audio configuration
Firmware version #
media serial #
LTC user bits (3 32-bit
word reg-dump from ISP)
s4i static data
s4i dynamic data
GMT time/data
RGB curves
shadow control
Luma curve
Lens name, brand, ID,
near focus, far focus
Camera Network Name
Production Name
Director Name
DP Name
Copyright
Unit
Camera Name
Location
Scene
Take
Accelerometer Data
Gyro Data

18 18 18 18
CLIP NAMING CONVENTIONS
When you press RECORD, the camera automatically creates a unique name for the CLIP being recorded
to the REDMAG 1.8 SSD media. The format of this name is:
Camera Letter + Reel Number + Month + Day
e.g. A001_C002_0502**.RDC
Where: A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 02, and the digits * * are two
random characters generated by the camera to prevent any possibility of duplicate names being created.

So a three Clip sequence of Clip Folders within a Magazine Folder on Camera A would look like this:
A001_C001_0502**.RDC

A001_C002_0502**.RDC

A001_C003_0502**.RDC

19 19
MULTI CAMERA SHOOTS
The scheme provides flexibility to uniquely identify Clips from different cameras on a multi-camera shoot.
For example three cameras, slated as camera A, camera B, and camera C respectively, can generate
these easily recognizable clips on their respective digital media Magazines.
A001_C001_0502**.RDC B001_C001_0502**.RDC C001_C001_0502**.RDC
3D (STEREO) CAMERA SHOOTS
The scheme also allows unique identification of Clips from left and right eye cameras on a stereo shoot.
For example two cameras, both slated as Camera S, can generate these easily recognizable clips on their
respective digital media Magazines.
S001_L001_0502**.RDC S001_R001_0502**.RDC
For more information refer to APPENDIX F: 3D SETUP / OPERATION > CLIP NAMING CONVENTIONS.
SMPTE TIMECODE
Time Code (TC) is a SMPTE timecode track that synchronizes to the cameras high precision internal
clock, or if operated in Jam Sync mode, references to an externally supplied SMPTE master timecode
signal. TC is a sequential code that is continuous from frame to frame, but is discontinuous from clip to
clip.
Edge Code (EC) is a SMPTE timecode track that always starts at 1.00.00.00 on the first frame recorded to
the digital media. It is a sequential code that is continuous from frame to frame and also continuous from
clip to clip. EC is equivalent to RUN RECORD commonly found on broadcast cameras.
Irrespective of the timecode mode selected, once recording starts the cameras timecode counter will
update at the same instantaneous frame rate as the recording. This ensures that a valid SMPTE timecode
value is created for every frame in the clip, eliminating any timecode count jumps that could affect
playback or editing.
If operating in Jam Sync mode referenced to an external timecode source, the clips master time reference
point is the first frame of the recorded clip.
POWER CONSUMPTION
The camera draws approximately 60 watts when recording in 5K resolution, 24fps MOVIE mode. The
camera is cooled by convection from the camera body assisted by a fan contained in a sealed air duct.
Under typical operating conditions, a REDVOLT
battery will run the camera and accessories for about 30

minutes and a REDVOLT
XL battery will run the camera and accessories for about 90 minutes.
CAMERA OPERATIONAL CONTROLS
This section describes the available operational controls on the RED DSMC camera Brain, Side SSD
Module, Side Handle and REDMOTE accessories.

20 20 20 20
BRAIN

Power / Record Button / Status LEDs
Power / Record Button: Powers camera Up / Down and initiates Record Stop / Start
Power Status LED: Indicates Power status:
o LED Red = Power Present, Camera OFF
o LED Yellow = Power present, Camera Booting
o LED Green = Power present, Camera ON
o LED Green Blinking = Power present. Running on Battery
o LED Yellow Blinking = Power present. 5-10 minutes of Battery time left
o LED Red Blinking = Power present. Less than 5 minutes of Battery time left
Record Status LED: Indicates record status:
o LED Off = No Media present.
o LED Green = Ready to Record
A Power Status LED
B Power / Record Button
C Record Status LED
A
B
A
C

21 21
o LED Red Constant = Recording
o LED Red Slow Blink = Recording, 25% Media Left
o LED Red Fast Blink = Recording, 5% Media Left
o LED Yellow = Finalizing
Both LEDs: Indicates camera status:
o Both LEDs Green Blink = firmware update in Progress
SIDE SSD MODULE

A SSD Slot
B User Key 1
C User Key 2
D Focus / Record Button
E Media Indicator
Side SSD Module Controls
SSD Slot: Slot for REDMAG 1.8 SSD digital media Magazine.
User Key 1: Initiates user defined camera function. Undefined by Default.
User Key 2: Initiates user defined camera function. Undefined by Default.
B
C
A
D
FRONT
REAR
E

22 22 22 22
User Key 1 + User Key 2 : Press both keys to Eject (unmount) REDMAG 1.8 SSD Magazine.
Focus / Record Button: Touch for Auto Focus, fully depress to Start or Stop Record.
Media Indicator LED: Indicates status of media:
o LED Off = No Media
o LED Green = Ready to Record
o LED Red Constant = Recording
o LED Red Slow Blink = Recording, 25% Media Left
o LED Red Fast Blink = Recording, 5% Media Left
o LED Yellow = Finalizing
o LED Yellow Blinking = Media Access (Format etc...)

23 23
SIDE HANDLE
TOP

A Battery Release D LCD Menu Keys
B Focus / Record Button E LCD Display
C Adjustment Ring F LCD Backlight Button
RED Side Handle Controls - Top
Battery Door Release Button: Releases Side Handle battery door to permit battery exchange.
Adjustment Ring: Selects and adjusts camera parameter values. Similar to the scroll wheel on the
navigation group.
LCD Menu Keys: The specific functions for each key are defined by the LCD screen. Defaults are:
1 ISO 2 F-Stop 3 Shutter Speed 4 White Balance
LCD Display: Displays key camera parameter values.
LCD Backlight Button: Enables LCD backlight.
Note: Side Handle controls can be locked/unlocked by holding the 1 and 4 buttons simultaneously.
A
B
C
D
E
F

24 24 24 24
FRONT

A Stills / Movie Slider
Side Handle Controls - Front
Stills / Movie Slider: Selects between STILLS and MOVIE modes of operation.
NOTE: This switch is not active at this time. Default camera operation is MOVIE
A

25 25
REAR

RED Side Handle Controls - Rear
A MENU Button D User Keys A-D
B Rocker Switch E System Keys 1- 3
C Navigation Group F Thumbwheel Lock
Menu Button: Press to access / camera setup menus.
Rocker Switch: Increases or decreases selected value based on parameter selected in USER KEYs.

A
B C
D
E
F

26 26 26 26
Navigation Group: Allows navigation through camera menus, selection of camera parameter for
adjustment, and adjustment of selected camera parameter.

Side Handle Navigation Group
A Scroll Wheel B Direction Keys C Enter Button
o Scroll Wheel: Selects and adjusts camera parameter value.
o Direction Keys: Navigates camera menus and may select parameter for adjustment.
o Enter Button: Confirms selected parameter value adjustment.
User Keys: User Function Keys A-D. The specific function of these keys may be programmed by the
user. Default settings for User Function Keys A-D are as follow:
- User Key A Toggles Focus Assist indicator
- User Key B Performs White Balance calculation.
- User Key C Toggles False Color > 1:1 Magnify
- User Key D Toggles False Color > Exposure Check
System Keys: Function is defined by System Firmware.
- Upper: Toggles False Color > Exposure Check
- Center: Not currently defined
- Lower: Ejects (unmounts) the currently selected Media

C
B
A

27 27
INSTALLATION / REMOVAL
WARNING: THE SIDE HANDLE IS NOT HOT SWAPPABLE - MEANING YOU CANNOT REMOVE OR
INSTALL WHILE THE CAMERA IS POWERED ON. BEFORE INSTALLING OR REMOVING THE SIDE
HANDLE, YOU MUST POWER DOWN THE CAMERA. FAILURE TO DO SO MAY RESULT IN
DAMAGE TO THE SIDE HANDLE AND / OR CAMERA BRAIN THAT IS NOT COVERED BY
WARRANTY.
To install the side handle:
1. Power down the camera if necessary.
2. Remove the brain side plate (if installed) by removing the single screw located at the bottom.
3. Rotate upwards to disengage lip at top of side plate from camera brain.

4. Insert the lip at the top of the side handle into the area where the lip from the side plate was installed.

5. Rotate side handle down flush along side of camera brain.
6. Rotate thumbscrew upwards until tight. Ensure side handle is secure to camera brain. You may have
to apply steady pressure to get the screw started.

Remove screw and rotate side
plate upwards to remove.
Insert lip into top of
camera brain.
Press side handle flush
against camera brain.
Rotate thumbscrew
upwards until tight.

28 28 28 28
To remove the side handle:
1. Power down the camera if necessary.
2. Rotate the thumbscrew downwards until detached from camera body.

3. Rotate upwards and pull down to disengage lip at top of side handle from camera brain.
4. Remove side handle from camera.

Rotate thumbscrew
downwards until loose.
Rotate side handle
upwards to remove.
Disengage lip from top
of camera brain.

29 29
DSMC MODULES
PRO I/O MODULE
The PRO I/O MODULE provides a central hub for professional audio and video input/output
connections that compliment Brain input/output connections.
Dual Auxiliary Power outputs support low power peripheral devices such script light and range finder
AES / EBU digital audio port allows direct ingest of 4 channel 24-bit 48KHz audio from external mixers

30 30 30 30
REAR SSD MODULE
The Rear SSD Module secures onto the back of the DSMC brain to serve as a rear location for
recording onto 1.8" REDMAG SSD media.

QUAD BATTERY MODULE
The QUAD MATTERY MODULE holds up to 4 REDVOLTs or 2 REDVOLT-XLs
Batteries may be hot swapped

Quad Battery Module Shown with REDVOLT batteries Installed
Battery Eject
Button

31 31
DUAL BATTERY MODULE
The DUAL BATTERY MODULE holds up to 2 REDVOLTs
Batteries may be hot swapped

Dual Battery Module Shown with REDVOLT batteries Installed

32 32 32 32

MODULE INSTALLATION / REMOVAL
To install a DSCM Module to the camera, an Adaptor Plate must be purchased separately. The following
procedure details installation of the Adaptor Plate and DSMC Module.
Install the Adapter Plate
5. Power down the camera.
6. Remove the REDMOTE.
7. Place the adapter plate over the v-mount on the rear of the camera brain.

8. Using a T-20 Torx, lightly tighten the four screws. Do not over tighten.

33 33

9. Tighten the screws again in a cross pattern until tight.

1
2 3
4

34 34 34 34
ATTACHING THE DSMC MODULE
WARNING: DSMC Modules are NOT hot swappable - meaning you cannot remove or install while
the camera is powered on. Before installing or removing a Module, you MUST power down the
camera. Failure to do so may result in damage to the Module and / or camera brain that is not
covered by warranty.
Quad Battery Module shown.
1. Insert the lip at the top of the module into the recess at the top of the adaptor plate.

Insert Lip At Top of Adaptor Plate
Rotate Module Down Until
Flush with Adaptor

35 35
2. Rotate module down flush with the rear of the adaptor plate.

3. While applying steady pressure to hold the module against the adaptor plate, use a T-20 Torx
screwdriver to rotate the lock on the adapter plate clockwise to secure the module.

Installation is now complete.

To remove the DSMC Module and Adaptor Plate:
1. Power down the camera.
2. Use a T-20 Torx screwdriver to rotate the lock on the adapter plate to the Unlock position.
3. Rotate the module upwards and down to disengage lip at top of battery from adaptor plate.
4. Remove module from adapter plate.
Rotate Lock Clockwise
Until Red Dot Lines Up
with Lock Icon
Press Module Flush
with Adaptor

36 36 36 36
5. Use a T-20 to loosen the screws attaching the adaptor plate the camera brain.
6. Remove the adaptor plate from the camera brain.
REDMOTE
This section describes the physical controls on the REDMOTE. For complete details on REDMOTE
control, refer to APPENDIX E: REDMOTE OPERATION.
IMPORTANT: For your REDMOTE to operate with this camera build version, ensure your REDMOTE
has been upgraded to the latest firmware. Refer to APPENDIX E: REDMOTE OPERATION >
MAINTENANCE > UPGRADING REDMOTE FIRMWARE.

REDMOTE Controls
A Still/Motion Slider F User Keys A-D K Soft Menu Keys 4-8
B Release Button (L) G MENU Button L Power/Lock Slider
C Record LED H Soft Menu Keys 1-3 M Release Button (L)
D Power LED I Navigation Group N USB Connector
E Rocker Switch J Focus / Record Button
Stills / Motion Slider: Allows selection of STILLS or MOVIE operational modes.
Rocker Switch: Provides continuous adjustment of parameter specified in USER KEYS menu.
User Keys: Press to initiate camera functions as defined in USER KEY menu.
C
D
A
B
E
G
F
H
J
I
N
M
K
L

37 37
Default settings for User Function Keys A-D are as follow:
- User Key A Toggles Focus Assist Indicator
- User Key B Toggles False Color > RAW Check
- User Key C Toggles False Color > 1:1 Magnify.
- User Key D Toggles False Color > Exposure Check
Menu Button: Press to access / camera setup menus.
Soft Menus Keys 1-3: Below the LCD are three (3) Soft Menu buttons 1-3 (H) whose functions are
defined on the LCD screen. For complete information refer to APPENDIX E: REDMOTE OPERATION >
OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 1-3.
Navigation Group: Allows navigation through camera menus, selection of camera parameter and
adjustment of selected camera parameter.

REDMOTE Navigation Group

- Scroll Wheel: Selects and adjusts selected camera parameter value.
- Direction Keys: Navigates camera menus and may select parameter for adjustment.
- Enter Button: Confirms selected parameter value adjustment.
Soft Menus Keys 4-8: To the right of the LCD are five Soft Menu buttons 4-8. These are pages
displaying camera settings. For complete information refer to APPENDIX E: REDMOTE OPERATION >
OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 4-8.
Power / Lock Slider: Slide and hold down for two seconds to power up / down REDMOTE and or
camera. Slide up to lock keys.
C
B
A

38 38 38 38
DISPLAYS
BOMB EVF AND BOMB EVF (OLED)
BOMB EVF is a high-definition, lightweight viewfinder that aligns quality performance with compact form
factor.
Resolution: 1280 (wide) x 784 (high) full-color
Contrast Ratio: 1000:1 typical
Available diopter range: +2.0 to -5.0.l

RED BOMB EVF (OLED) brings advanced OLED technology into the field, providing truer blacks and more
color accurate images
Resolution: 1280 (wide) x 1024 (high) full-color
Contrast Ratio: >10,00:1 typical
Available diopter range: +2.0 to -5.0.l l

NOTE: The specific function of EVF user keys (B/C) may be programmed by the user.
Focus Ring
Brightness Controls
Talley Light
Focus Ring
Brightness Controls
Talley Light

39 39
TOUCHSCREEN LCD
RED offers two touchscreen LCDs, a five-inch model with 800 X 400 resolution and a nine-inch with 1280
X 784. Both feature 4:4:4 progressive scan. The touchscreen LCD allows navigation of camera menus and
selection and adjustment of camera parameters by directly touching icons on the screen. Gestures
supported include:
Tap: Tap on an icon to bring up a quick adjustment display.
Hold: Touch and hold on an icon to bring up an advanced interface display.
Slide: Touch and slide on an icon to increment a value.
Pinch: Touch with two fingers, then open or close to magnify or normalize the video image.

RED 5 Touchscreen LCD Shown
NOTE: Default functions shown. All keys may be programmed by the user.
CAUTION: When do not use the threaded holes when mounting the display to a RED camera brain.
Doing so may damage the camera or the display.

User Key 1
1:1 Magnify
User Key 2
Exposure Check
Backlight Adjust
Two -20 threaded holes are
provided for mounting additional
accessories. Do not use them to
mount the LCD to the camera.

40 40 40 40
BASIC OPERATION
This section describes basic operation, starting from power up, Viewfinder layout and Menu navigation.
WARNING: THE SIDE HANDLE, SIDE SSD MODULE, REAR MODULES AND LENS MOUNT ARE NOT
HOT SWAPPABLE MEANING YOU CANNOT REMOVE OR INSTALL THEM WHILE THE CAMERA IS
POWERED ON. BEFORE INSTALLING OR REMOVING ANY OF THESE ACCESSORIES, YOU MUST
POWER DOWN THE CAMERA. FAILURE TO DO SO MAY RESULT IN DAMAGE TO THE
ACCESSORY AND / OR CAMERA BRAIN THAT WILL NOT BE COVERED UNDER WARRANTY.
Power draw is prioritized as follows when multiple power sources are available to the camera.
1. DC (Voltage) or Brick (%)
2. Battery Module batteries
3. Side Handle battery
POWER SOURCES
SIDE HANDLE
The optional Side Handle accepts one REDVOLT.

Side Handle Battery Compartment

41 41
QUAD BATTERY MODULE
The optional QUAD BATTERY MODULE accepts up to four REDVOLT or up to two REDVOLT XL
batteries, which can power the camera and typical accessories.

Quad Battery Module
REDVOLT AND REDVOLT XL

REDVOLT and REDVOLT XL
Note: When multiple batteries are installed in the Quad Battery Module, the power management circuit will
select the lowest charged battery to supply power to the camera. On depletion, a battery may be ejected
from the Quad Battery Module for re-charging, and a new charged battery may be inserted in its place. i.e.
batteries may be hot swapped, there is no need for the operator to power down the camera to replace a
REDVOLT battery when using the Quad Battery Module.

42 42 42 42
BACKPACK QUICKPLATE
The optional BACKPACK QUICKPLATE attaches directly to the back of the DSMC BACKPACK to provide
a compact REDBRICK configuration for EPIC or SCARLET-X.
Note: DSMC BACKPACK is required for use of the BACKPACK QUICKPLATE

BACKPACK QUICKPLATE

REDBRICK

43 43
AC POWER ADAPTOR - (DSMC)

AC POWER ADAPTOR - (DSMC)
When powering from the Module it is called in the lower UI as Rear Module (RM Bx) Bay number on lower
UI, and identified as Rear 1-4 in the POWER status menu.

In use, an LED on the Quad Battery Module will flash to show the battery currently powering the camera.
Current battery LED indicates status as follow:
LED Off = No Battery
LED Constant Green = Battery Not used but Charged
LED Green Blinking = Battery Used (100% - 11%)
LED Yellow Blinking = Battery has 10 minutes of run time remaining
LED Red Blinking = Battery has 5 minutes of run time remaining
LED Constant Red = Battery Discharged
Remaining batteries will have a steady LED on module.
When current battery reaches 4% charge, the battery module will automatically switch over another
battery, by default the LOWEST charge capacity battery of the remaining batteries installed in the Module.

44 44 44 44
Battery location and status are displayed in the lower UI. In this case RM B1 (Rear Module, Bay 1).
Battery location and status are also displayed on REDMOTE. In this case RM B3 (Rear Module, Bay 3).

The POWER menu also shows all installed batteries and their state of charge.

EXTERNAL DC POWER
RED DSMC Cameras accept input voltages between 11.5V - 17V D.C and can draw a maximum current
of 12 Amps.
An appropriate 150W supply with DC output rated at 15V 10A such as AC Power Adapter P/N 740-
0019 available from RED DIGITAL CINEMA.
RED Charger. For RED Charger you must use 2B-to-1B Power Adapter Cable P/N 790-0138.
RED BRICK
140Wh batteries may be used with Backpack Quickplate, RED Quickplate, Battery Belt
Clip, or RED Cradle via 2B-to-1B Power Adapter Cable P/N 790-0138.
4-pin XLR DC power sources may be used with the camera via adaptor cable P/N 790-0164.

45 45
POWER UP
Locate the cameras Power / Record button on the right face of the Brain.
NOTE: This button also serves as a Record Start / Stop button once the camera is powered up.

A Power Status LED
B Power / Record Button
C Media Status LED
Power / Record Button / Status LEDs
When an appropriate power source is connected to the Brain, the Power Status LED will illuminate Red. If
it is illuminated, depress and then release the Power / Record button. The Power Status LED will initially
go out and within 5 seconds illuminate Orange to confirm the camera is powering up, then it will illuminate
Green, confirming the camera is powered up and ready to use.
If a formatted REDMAG 1.8 SSD is attached to the Brain, once powered up the Media Status LED will
illuminate Green. If this LED is not illuminated, verify a formatted REDMAG 1.8 SSD is inserted into the
Side SSD Module and / or format the SSD if it has not previously been formatted on the camera.
NOTE: Once powered up, if the Power Status LED illuminates Red, it indicates low remaining
battery capacity and a battery exchange or switch over to external DC power is recommended.
A
B
A
C

46 46 46 46
POWER DOWN
The camera can be powered down in two ways:
1. Using REDMOTE or Side Handle Menu controls, or via Touch Screen LCD icons. Refer to
SECONDARY MENUS > POWER.
2. Depress and continue to hold the Power / Record button in its fully depressed position until the
INITIATING CAMERA SHUTDOWN shows on the display.
After Power Down, the Power Status LED will illuminate Red, if an appropriate power source is available.

47 47
GRAPHICAL USER INTERFACE AND NAVIGATION
RED LCD/TOUCHSCREEN LCD, BOMB EVF, EXTERNAL MONITORS
The following is a general description of the structure of the cameras Graphical User Interface (GUI) which
overlays the video monitor signal on the Viewfinder output(s) of the camera.

GUI Display Elements
The display elements include:
Audio Meter: Audio input selection and
levels
Clip Level Bar: Relative number of RAW
pixels near clip
Clip Meter: RGB sensor RAW clipping status
Cursors: Reference cursors Safe Action /
Safe Title, Picture Center, Grid Overlay
Drop: Indicates if any frames were dropped
during recording of the clip
F Stop: Functional when optional mount and
lens are installed
False Color Mode: Displays false color
overlay mode
Fan Speed: Displays fan speed in %
TIMECODE
ISO RATING WHITE BALANCE SHUTTER SPEED
RESOLUTION /
PROJECT
FRAME RATE /
QUALITY
FRAME RATE
MEDIA
SOURCE / STATUS
AUDIO METER
HISTOGRAM
RAW CLIP
METER
POWER
SOURCE / STATUS
NEXT CLIP
FILENAME
FRAME GUIDE
PICTURE CENTER / SPOT FOCUS
TITLE GUIDE
ACTION GUIDE
RAW NOISE
LEVEL BAR
RAW CLIP
LEVEL BAR
RESOLUTION
FALSE COLOR MODE
HDRx MODE
QUALITY
TEMPERATURE
DROP
SHUTTER SYNC
GENLOCK
MAGNIFY
TC
REDMOTE
LAN
RIG STATUS
FAN
SPEED
F STOP
OVERLAY GRID
LENS INFO

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Frame Guide: Record or Projection area
Frame Rate: Current frame capture rate
Genlock: Indicates presence of valid
Genlock signal / HD-SDI sync to genlock
HDR Mode: Displays HDRx mode status
Histogram: RGB Histogram.
ISO Rating: Camera sensitivity
LAN: Indicates communication via Ethernet
connection
Lens Info: Lens information when using
specific Canon or Cooke lenses.
Magnify: Tallies 1:1 if magnify is selected
Media Status: Media location and remaining
media capacity in %
Menu ICON : In the upper Right corner
on the touchscreen LCD - Opens the
Secondary Menus
Next Clip Filename: Filename of the clip that
will be shot next
Noise Level Bar: Relative number of RAW
pixels in noise
Playback ICON : In the upper Left corner
on the touchscreen LCD - Accesses the
Playback Function
Power: Indicates D.C supply voltage or % of
remaining battery capacity Including current
supply voltage
Project Frame Rate: Current project TIME
BASE
Quality: REDCODE setting
Resolution Record Resolution
RIG: Indicates 3D rig metadata is present
RM: Indicates communication to REDMOTE
Shutter Speed: Exposure Time (or Degrees)
Shutter Sync: Indicates sensor shutter sync
status
TC: Indicates presence of valid SMPTE
timecode signal and Jam Sync status
Temperature: Displays camera sensor and
core temperature in that order (xx/xxC)
Timecode: Current timecode value
White Balance: Color Temperature

49 49
The GUI is broken down into the following three main sections: the Upper Status Row, the Live Action
Area, and the Lower Status Row. On VIEWFINDER output(s), all three sections are visible, on PREVIEW
outputs only the Live Action Area and associated graphic overlays are visible. On PROGRAM outputs,
none of the graphic overlays are visible, i.e. a PROGRAM output is defined to be a CLEAN FEED output.
UPPER STATUS ROW

Provides immediate feedback on the most critical image composition parameter settings, including (from
Left to Right):
Playback Access (Touchscreen)
Current frame capture rate
ISO Rating
Shutter Speed (or Shutter Angle)
White Balance
Record Resolution
Record Quality
Secondary Menus Access (Touchscreen)
Whichever parameter is underlined with a red bar may be immediately adjusted by pressing ENTER in the
Navigation Group of the Side Handle or REDMOTE, then using the Scroll Wheel to change the value of
that parameter. To confirm the parameter change press ENTER a second time.
NOTE: Shutter angle is displayed in Relative mode by default, as indicated by Yellow text.
If the red bar is not on the parameter you wish to change, first use the Scroll Wheel to position the red bar
under that parameter, then press ENTER, adjust with the Scroll Wheel and press ENTER a second time to
confirm the value change.

In the above GUI example, the Scroll Wheel has been used to move the red cursor to the Shutter Speed
parameter; and the ENTER key has been pressed. This reveals the Parameter Adjust Widow. Adjust the
value using the Scroll Wheel and then press ENTER to confirm the value change, then close the sub-
menu.

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LIVE ACTION AREA
Contains the recorded image area plus Surround View look around area, plus overlays for Frame Guide,
Safe Action / Safe Title and the current Clip Name and Timecode values. Each overlay may be color
coded in one of 5 colors to maximize the contrast between the guide(s) and scene being captured.

LOWER STATUS ROW

The Lower Status Row provides feedback on key systems level camera values, including:
Clip Settings
Exposure (Histogram)
Temperature, Power and Sync
Media Status
Power Status
Audio Levels

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ICON BEHAVIOR
TC
TC Gray - No analog time code is currently detected
TC Red - Analog time code is being detected, but the use of it is not enabled
TC Green - Analog time code is being used to jam the time of day time code. TC will revert to gray if
the signal is no longer detected
GEN
GEN Gray - No genlock signal is currently detected
GEN Red - During process of sync, or if genlock is lost while recording
GEN Green - A genlock signal matching the current HD-SDI monitor rate has been locked to.
GEN Yellow - When timing is cross-locking to compatible but not matching monitor rate. i.e. genlock
= 24.00, HD-SDI monitor rate = 25.00
NOTE: 3D operation should not be done if GEN is yellow. This is a warning condition that genlock
source settings and camera settings are not aligned.
SYNC
SYNC Gray - The sensor sync mode is not Genlock
SYNC Red - The sensor sync mode is Genlock, but it is not locked to any genlock signal, or genlock
or sensor sync is lost while recording
SYNC Green - A genlock signal compatible with the HD-SDI monitor rate has been locked to and the
sensor timing is also locked to it

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POWER STATUS
If powering camera through DC power, the current voltage will be displayed.

If using a REDBRICK or similar external battery to power the camera through DC IN, power status
displays the current supply voltage available from the battery. Supply voltage decreases as battery is
discharged, the displayed text is color coded as follows:
Green = 12.0 V and up Yellow = 11.9 11.8 V Red = 11.7 11.6 V
NOTE: The camera will automatically power down if supply voltage drops to 11.5 Volts.
If using a REDVOLT battery in the Side Handle or Battery Module to power the camera, power status
displays the location of the power source (example: SH: Side Handle; RM: Rear Module) and reports the
remaining battery capacity and the displayed text is color coded as follows:
Green: >10 minutes Yellow: 5-10 minutes Red: <5 minutes

If using a RED BRICK battery connected to DC IN, power status displays BRICK and reports the % of
remaining battery capacity and the displayed text is color coded as follows:
Green: >10 minutes Yellow: 5-10 minutes Red: <5 minutes

53 53
RAW CLIP METER
The RAW Clip meter looks a traffic light style meter and indicates if either of the Red, Blue or
Green channels of the RAW sensor data are clipping. This meter is unaffected by White Balance,
ISO, VIEW or LOOK settings and therefore represents a true measurement of the exposure
levels of the sensor at all times. The light goes on when approximately 2% of the pixels of the
corresponding channel are clipping.
RAW NOISE LEVEL BAR
The RAW noise level bar indicates pixels in the image that are in noise. At full height approximately 25% of
the pixels are underexposed and may display noise when pushed at higher ISO or FLUT values in post-
production.

RAW CLIP LEVEL BAR
The RAW clip level bar indicates pixels in the image that are clipping. At full height approximately 25% of
the pixels are overexposed and may not be recoverable by lowering ISO or FLUT values in post-
production.

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SIDE HANDLE

As you navigate and adjust settings on the camera (main menu settings only), they will be reflected on the
Side Handle LCD display.
Frame Rate: Image capture rate
Power: Camera power status (DC Shown)
Resolution: Recording Resolution
White Balance: Color Temp
REDMOTE

Audio Meter: Audio input selection and
levels
Battery Indicator: Displays battery life or
charge status (shown) of REDMOTE
Camera ID: Displays camera ID (DEFAULT
shown)
Clip Filename: Filename of the clip that will
be shot
Clip Meter: RGB sensor RAW clipping status
False Color Mode: Displays false color
overlay mode

55 55
Frame Rate: Current frame capture rate
Genlock: Indicates presence of valid
Genlock signal / HD-SDI sync to genlock
HDR Mode: Displays HDRx mode status
Histogram: RGB Histogram
LAN: Indicates communication via Ethernet
connection
Magnify: Tallies 1:1 if magnify is selected
Media Status: Media location and remaining
media capacity in %
Power: Indicates D.C supply voltage or % of
remaining battery capacity Including current
supply voltage
Project Frame Rate: Current project TIME
BASE
Resolution Record Resolution
Resolution Recording Resolution
RIG: Indicates 3D rig metadata is present
Shutter Sync: Indicates sensor shutter sync
status
TC: Indicates presence of valid SMPTE
timecode signal
Timecode: Current timecode value
White Balance: Color Temp
Wireless Status: Displays signal strength
when connected wirelessly
NAVIGATING MENUS
The primary method to navigate Menus is via the Scroll Wheel on the REDMOTE or Side Handle. Rotate
clockwise to move right, counter clockwise to move left. However, the Left and Right direction Navigation
Keys (REDMOTE or Side Handle) or Adjustment Ring (Side Handle) may also be used for this purpose.
The Up and Down direction Navigation Keys provide additional navigation functions when pressed:
UP Selects Advanced Settings menu.
DOWN Selects standard Settings menu.

As an example, position the Cursor under the Shutter Speed (24FPS) icon and press the UP Direction Key
to access advanced adjustment values for Shutter Speed.

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USING TOUCHSCREEN LCD
If operating a Touchscreen LCD, camera menu navigation may be made through finger gestures.

To adjust a parameter value, simply touch it, and then swipe the finger left / right to adjust its value.
To access an advanced parameter settings display, press and hold down on the parameter icon.
Touch anywhere outside the overlay windows to enter the value changes and to hide the sub-menus.
To enter the Secondary Menus, touch the MENU icon.

To return to the Main Menus, touch the MENU icon again.
To access the Playback function, touch the arrow.

To exit the Playback function, touch the circle.

57 57
TOUCHSCREEN SHORTCUTS
The bottom portion of the touchscreen contains shortcuts to the most-used camera screens.

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ACCESSING SOFT KEYS
User-programmable Soft Keys A-D and 1-4 may be accessed by tapping the left or right regions
of the touchscreen. Programming soft keys is explained later in the manual

Soft Key
with labels
Soft Key
without labels

59 59
POWER DOWN
NOTE: Camera will automatically power down if supply voltage drops to 11.5 Volts.
POWER MENU
1. Select the MENU icon in the right corner of the Upper Status Bar to reveal the Secondary
Menus.
2. Select POWER.
3. Select SHUTDOWN.
4. The camera will immediately power down.

USING POWER STATUS DISPLAY
1. Select the POWER status located between the audio channels and media remaining indicator, to
reveal the same menu illustrated above.

2. Select SHUTDOWN.
3. The camera will immediately power down.

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LOCK / UNLOCK TOUCHSCREEN OPRERATION
LOCK
To lock out the touchscreen operation, touch and hold the MENU icon until the LOCK icon
displays; indicating the touchscreen has been locked out. When locked, the main menu will be displayed.

UNLOCK
To unlock out the touchscreen and allow normal operation, touch and hold the LOCK icon until the
MENU icon displays; indicating the touchscreen has been unlocked.

61 61
FIRST TIME USE SETTING UP YOUR RED EPIC
ATTACH POWER SOURCE
If a REDVOLT battery is installed in the Side Handle and DC power is connect through the DC IN
connector, the DC IN power supply has priority and will power the camera instead of the battery.
BATTERY
Connect a RED battery to the camera in one of the following ways:
SIDE HANDLE
Attach a Side Handle and insert a REDVOLT battery.
INSTALL

1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C).
4. Insert a REDVOLT battery until it is fully seated and retainer (C) clicks into place.
5. Close battery door.
A
B
C

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REMOVE
1. Press the battery door release button (A).
2. Open battery door (B).
3. Press upwards on retainer (C) to release battery.
4. Remove battery from side handle.
QUAD BATTERY MODULE
Attach a Quad Battery Module and insert one or more REDVOLT batteries.
INSTALL
Insert battery into desired location and press until a click is heard and battery is seated.
REMOVE

1. Press the battery eject button (A) for desired battery.
2. When battery pops out, remove battery from battery module (B).

B
A
B

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RED BRICK
Attach to the camera using a V-Plate and 2B-to-1B Power Adapter Cable P/N 790-0138 to the DC IN
connector.
DC POWER
Connect a DC power source to the camera in one of the following ways:
Plug the RED AC Power Adapter into AC power, and the LEMO connector to the DC IN connector.
Plug the RED CHARGER into AC power, and the LEMO connector to the DC IN connector via 2B-to-
1B Power Adapter Cable P/N 790-0138.
Plug a 12V XLR based power source into the DC IN connector via adaptor cable P/N 790-0164.
NOTE: The maximum sustainable power load of the DSMC AC Power Adapter is 150W (15V@10A).
The output of the adapter is over current protected, and will shut down if an excess load condition
occurs. If the output trips for any reason, remove any external loads from the camera, such as
lights, motors etc, turn off the Adapter and repeat the above procedure.
POWER UP
Locate the cameras Power ON / OFF button on the right face of the Brain. If the Power Status LED is
illuminated Red, depress and then release the Power / Record button. If not illuminated, check your
battery charge status or external power source cable connection. Once powered up the Power Status
LED will illuminate Green, confirming the camera is ready to use.
PREPARING TO RECORD
Before each days recording, the camera should be prepared as follows:
- Physically set-up camera as desired.
- Verify camera is using the latest firmware version at www.RED.com/support and if appropriate,
upgrade the camera firmware. Refer to APPENDIX A: UPGRADING CAMERA FIRMWARE.
- Insert a blank (or previously used but erasable) REDMAG 1.8 SSD and format it.
- Perform a BLACK SHADING CALIBRATION of the Sensor.
- Check your PROJECT SETTINGS (Time Base, Record Resolution, Record Quality, etc.).
- Frame, focus and record.
CONNECT AND FORMAT MEDIA
Identify a REDMAG 1.8 64GB, 128GB or 256GB SSD that has not previously been recorded to, or is not
a camera master and may therefore be erased and re-used. Aligned the RED logo of the SSD to the
outside, and then push the SSD firmly, but without excessive force, into the slot in the Side SSD Module.

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NOTE: When fully inserted, the SSD media protrudes slightly from the SSD slot.
When SSD media is inserted into the camera, the camera will recognize if the media is unformatted:
- On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed twice (as
opposed to when no media is inserted, the GUI displays NONE with three dashes below ---).
- On REDMOTE, NONE will be displayed twice (as opposed to when no media is inserted, the GUI
displays NONE with three dashes below ---).
- On the Side Handle, NA will be displayed (same as if no media is present).
To format the media select SECONDARY MENUS > MEDIA > FORMAT MEDIA.

When FORMAT is selected, a FORMAT dialog box will appear allowing you to add Camera Identity and
3D Position properties when formatting. When desired options are set, select FORMAT.
NOTE: If any clips will be erased on the attached media, you will be informed of the number.

PERFORM A BLACK SHADING CALIBRATION
Refer to SECONDARY MENUS > SETTINGS > MAINTENANCE > CALIBRATION for complete details for
performing a Black Shading Calibration.

65 65
ADJUST PROJECT SETTINGS
TIME BASE
The project TIME BASE defines the rate at which the footage will be played back. When changing the
project frame-rate, the sensor frame-rate will default to the project rate, but may be over-ridden using the
sensor frame-rate controls.
Multiple projects with differing time bases may be stored on a media cartridge (SSD.)
To adjust the project TIME BASE, press the MENU button on the Side Handle or REDMOTE. Then use the
Scroll Wheel or Direction Keys to navigate to SETTINGS > PROJECT > TIME BASE and press ENTER.
Adjust to the desired value using the Scroll Wheel and press ENTER once more to confirm.

If using a Touch Screen, select SECONDARY MENUS > SETTINGS > PROJECT > TIME BASE. Adjust by
sliding your finger up / down or tapping on the desired value, and then press anywhere else on the touch
screen to confirm.
The following TIME BASES are currently available:
23.98 fps
24.00 fps
25.00 fps
29.97 fps
47.96 fps
48.00 fps
50.00 fps
59.94 fps

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RECORD RESOLUTION

To adjust Record Resolution, navigate the Cursor to the RESOLUTION icon in the Upper Status Row and
press the Navigation Group ENTER key. Adjust to the desired value using the Scroll Wheel and press
ENTER a second time to confirm.
If using a Touch Screen, press the RESOLUTION ICON, adjust RESOLUTION by sliding your finger left /
right, or tap on the desired resolution, and then press anywhere else on the touch screen to confirm.
The following Recording Resolutions are currently available:
5K
5K HD
5K 2:1
5K WS
5K ANA
4K
4K HD
3K
3K HD
2K
2K HD
2K WS
1K HD
1K WS
RECORD QUALITY (REDCODE)
Allows adjustment of REDCODE settings.

Range is 3:1 to 18:1
Default is 8:1
Use the scroll ribbon to select a target REDCODE compression ratio.
The camera will automatically select the closest REDCODE to the desired target.
The display will always show the "current" compression ratio being used by the camera.
If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the
camera is unable to achieve the target compression ratio, it will be displayed in yellow.
The current compression ratio will automatically be re-calculated when changes are made to Resolution,
FPS, HDRX Mode, Media, or Target REDCODE.

67 67
CAMERA ID (SLATE)
If operating on a multi-camera production, enter a different Camera ID for each camera; otherwise skip
this step; the camera is ready to shoot.
The Camera ID is set when the media is formatted. Refer to ADVANCED MENU > MEDIA for details.
RECORDING
Ensure a formatted REDMAG 1.8 SSD is inserted in the cameras Side SSD Module, then fully depress
any one of the RECORD buttons located on the Brain, Side SSD Module, Side Handle or REDMOTE.
Fully depress again to stop recording. The camera will automatically create a unique and sequential file
name for each clip recorded on the SSD based on the Cameras I.D set in the MEDIA menu.
REDCODE RAW data recordings store the Color Temperature and Exposure (ISO) and any RGB color
processing values you use in the monitor path as metadata. This metadata is used in REDCINE-X or
other post-production software as initial white balance, exposure and color correction points however,
you are free to change these values at any time when you process the RAW footage.
Time Code and Edge Code values used by the camera are Non Drop Frame (NDF); Drop Frame (DF) is
not supported. Audio is captured uncompressed at 24-bit resolution, 48KHz sample rate per channel.
Digital media such as REDMAG 1.8 SSDs are very robust, but should be treated with equal care as
exposed film or a videotape master. We recommend storing digital media that contains your footage in a
secure location and backing up the data to a digital archival media, such as data tape or hard disk drive.
RECORD INDICATOR
When recording, the RED DSMC camera provides a variety of record indications (tallies):
- Timecode, normally displayed in white colored text, will be displayed in red colored text.
- A small Red dot will appear in the top right corner of the VIEWFINDER output(s).

- The REC LED on the right side of the camera Brain will illuminate Red.
- REDMOTE upper LED will illuminate Red, and the Timecode will turn Red.

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- If using a BOMB-EVF, the LED on the front will illuminate Red if Tally is enabled
- SMPTE-RP188 timecode VITC-2 HANC metadata record flag will be enabled on HD-SDI outputs.
- If enabled in the USER KEYS menu, the GPO trigger output in the CNTL connector will pulse.
PLAYBACK
Playback is available on the RED DSMC Camera by going to SECONDARY MENUS > SETTINGS >
PLAYBACK or by touching the Playback arrow icon in the upper Left corner of the GUI.

The Playback function will display.

For complete details, go to SECONDARY MENUS > SETTINGS > PLAYBACK.

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MENU CONTROLS
Displayed in the Upper Display Group of the VIEWFINDER output(s), are FRAMERATE (FPS),
EXPOSURE (ISO), _._ (F/Stop), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE). These
parameters are adjustable directly through this screen. When using the touchscreen, directly to the right
of these parameters is the MENU icon which when pressed will take you to the secondary camera
set up menus.

ADJUSTMENTS
BASIC SETTING ADJUSTMENTS
SIDE HANDLE / REDMOTE
The MENU button can be used to ENTER the secondary menus, as well as CANCEL inside lists and
for navigating back up menus.
Navigate to the desired setting using the NAVIGATION GROUP direction keys and press ENTER.
Use the Scroll Wheel or Adjustment Ring to increase or decrease the parameter value.
When the desired value has been selected, press ENTER to set.
BASIC ADJUSTMENTS USING SIDE HANDLE ONLY
Although not recommended, the Side Handle can be used stand alone to make basic adjustments to
FPS, ISO, Shutter Speed, Resolution and REDCODE located on the Main Menu screen. Use the
Navigation Group to make these adjustments while watching the cursor placement under the desired
setting on the side handle LCD. When desired setting is selected, press the Enter button to access, then
use the Scroll Wheel, Directional Pad or Adjustment Ring to make changes. When done, press the Enter
button again to set the changed parameter. The MENU button can be used to ENTER the secondary
menus, as well as CANCEL inside lists and for navigating back up menus.
TOUCHSCREEN
The MENU ICON can be used to ENTER the secondary menus, as well as CANCEL inside lists and
for navigating back up menus.
Touch the desired parameter for adjustment.
Slide your finger across the screen to scroll through the available parameter values.
When desired the parameter value has been selected, touch anywhere in the screen area to set.

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To close an alpha numeric keypad when entering information directly, tap anywhere on the screen
outside the keypad.
ADVANCED SETTING MENUS
At this time, only FRAMERATE, F-STOP, SHUTTER SPEED and WHITE BALANCE on the MAIN MENU
have advanced settings.
SIDE HANDLE / REDMOTE
1. Navigate to the desired setting using the NAVIGATION GROUP direction keys and then press the UP
directional key.
2. Use the direction keys to navigate to the desired parameter adjustment field and press ENTER to
confirm.
3. Use the Scroll Wheel to adjust the selected parameter value.
4. When desired selection is made, press the MENU button to set.
TOUCHSCREEN
5. Press and hold the desired parameter to gain access to advanced setting adjustments.
5. Press the field - a keypad type menu may appear to allow adjustments.
5. Press the desired parameter settings to adjust.
5. When desired selection is made, press anywhere in the screen area to set and exit the advanced
settings submenu.

71 71
MAIN MENU
Available options under the MAIN MENU are FRAMERATE (FPS), ISO (SENSITIVITY), F STOP, 1/SEC
(EXPOSURE), WHITE BALANCE, RESOLUTION, and QUALITY (REDCODE).

FPS
FPS is used to to select an image capture frame rate that differs from the Projects TIME BASE frame
rate.
Ranges are as follows:
FORMAT
FRAME RATE (FPS)
FORMAT
FRAME RATE (FPS)
MIN MAX MIN MAX
5K 1 96 3K 1 160
5K HD 1 96 3K HD 1 160
5K 2:1 1 101 2K 1 240
5K WS 1 121 2K HD 1 240
5K ANA 1 96 2K WS 1 303
4K 1 121 1K HD 1 359
4K HD 1 121 1K WS 1 400

Default is 24 fps (or the selected Project TIME BASE frame rate if not 23.98 or 24.00 fps).
VARISPEED
When a frame rate other than the current TIME BASE has been selected, the FPS text will turn Yellow
and VARISPEED will be shown where the Audio Meter is normally displayed at the lower right of the
display.
NOTE: Audio is not recorded in VARISPEED mode.

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BASIC SETTINGS
Provides quick selection of the most common VARISPEED frame rates.

ADVANCED SETTINGS

When selected a numerical keypad will appear allowing the desired VARISPEED Framerate to be
entered in 1 fps increments. Maximum frame rate is a function of RECORD RESOLUTION and
REDCODE settings. Granularity is 0.001 FPS.

A keypad is available for direct numeric entry of the VARISPEED FPS value. Touch the value bounded by
the + and labels to bring up, press outside the keypad to confirm the value.

73 73
ISO (SENSITIVITY)
Adjusts the cameras ISO rating. The sensitivity value is adjustable in 1/3rd stop increments. When the
ISO rating is adjusted, the camera logs the change as metadata and the monitor path reacts
accordingly. Higher ISO values lead to brighter images in the monitor path, and vice versa.

Range is ISO 250 12800
Default is ISO 800
F STOP
Aperture controls the depth of field of the subject imaged by the camera, and in combination with the
shutter speed / angle setting controls the amount of light falling on the sensor. i.e. exposure. Increasing
the F stop to a higher number reduces exposure as well as increases the depth of field, decreasing the F
stop to a lower number increases the exposure and decreases the depth of field. You can chose either
1/3 or 1/4 stops.

RED DSMC Ti PL Mount Installed
When a lens equipped with Cookes S4/i system is attached to the DSMC Ti PL Mount, the camera will
display the current aperture (F stop) of the attached lens.

DSMC Canon Mount Installed
This menu will appear when a DSMC Canon Mount is installed and a Canon EF or EF-S Lens or
equivalent is attached (a Non-Canon EF or EF-S Lens may not function as smoothly or accurately).
Adjusts the aperture (F stop) of the attached lens.
The attached lens for the example shown is a Canon EF 24-70mm.

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BASIC SETTINGS
Allows adjustment of the aperture (F stop) of the attached lens. The range will vary depending on the
attached lens.

ADVANCED SETTINGS
When selected, the advanced settings menu allows fine control over the f-stop value under APERTURE
and focal distance under FOCUS.

APERTURE (F STOP)
Provides the ability to enter the F stop value directly.
Range depends on attached lens.
Default depends on attached lens.

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FOCUS
Provides the ability to enter the focal distance directly.
Range depends on attached lens.
Default depends on attached lens.

EXPOSURE
BASIC SETTINGS
Adjusts the exposure of each frame captured by the MYSTERIUM X sensor. Shutter speed presets are
provided for all common speeds (and shutter angles) for 24 / 25 fps and 50 / 60 fps project frame rates.

Decreasing Shutter Speed increases the amount of time over which light falls on the sensor, increasing
exposure and motion blur on any objects moving within the frame. Increasing Shutter Speed shortens
the amount of time over which light falls on the sensor, decreasing exposure and motion blur on objects
moving within the frame.
Range is 1/24
th
sec 1/8000
th
sec - Slowest available speed is 1 second per frame / frame rate, so for 24
fps it is 1/24
th
sec.
Default is 1/48
th
Sec.

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ADVANCED SETTINGS
When selected, the advanced settings menu allows fine control over the Exposure value, and permits
entry in any of the three following common units EXPOSURE (Shutter Speed), INTEGRATION TIME or
ABSOLUTE ANGLE (Shutter Angle).

EXPOSURE (SPEED)
Provides the ability to enter the Exposure value as a Shutter Speed (1/xx sec).
Range is 2 1/8000
th
Sec - Slowest available speed is 1/frame rate, so for 24 fps it is 1/24
th
Sec.
Default is 1/48
th
Sec.

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INTEGRATION TIME
Provides the ability to enter the Exposure value as a Shutter Integration Time (xx milliseconds).
Range is 0.125 to 41.708 mS (milliseconds)
Default is 20.833 MS

ABSOLUTE ANGLE
Provides the ability to enter the Exposure value as a Shutter Angle (xx Degrees).
Range is 1.000 to 360.000 Degrees
Default is 180.0 Degrees

As you adjust any of these three parameters, the camera will automatically calculate the equivalent value
in the other units, but as a quick reference here are some common Speeds and Angles.

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To Convert Shutter Speed to Angle Equivalent:
Equivalent Degrees = (Shutter Speed x Frame Rate x 360)
E.g. = (1/48 x 24 x 360) = (8640/48) = 180

SHUTTER DEGREES SHUTTER DEGREES
1/32 270 1/120 72
1/48 180 1/192 45
1/50 172.8 1/348 22.5
1/60 144 1/696 11
1/96 90 1/1000 8.6

Equivalent Shutter = 1 / (Frame Rate x 360 / Angle)
E.g. = 1/ (24 x 360/180) = 1/ (8640/180) = 1/48

DEGREES SHUTTER DEGREES SHUTTER
270 1/32 72 1/120
180 1/48 45 1/192
172.8 1/50 22.5 1/348
144 1/60 11 1/696
90 1/96 8.6 1/1000
WHITE BALANCE
BASIC SETTINGS
Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN.

Range is 1,700 K to 10,000 K.
Default is 5600K.

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ADVANCED SETTINGS
When selected, allows additional adjustment of the White Balance. Available options are PRESET,
COLOR TEMP, TINT, and CALCULATE WHITE BALANCE. Press APPLY PRESET for settings to take
effect.

PRESET
Available preset options are:
SHADE
Preset to 9,000K
CLOUDY
Preset to 7,500K
DAYLIGHT
Preset to 5,600K
FLASH
Preset to 5,500K
FLOURESCENT
Preset to 4,500K
TUNGSTEN
Preset to 3,200K
INCANDECENT
Preset to 2,800K

COLOR TEMP
Allows you to manually set Color Temperature in the range from 1,700 to 100,000 KELVIN. Default is
5600K.

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TINT
Color Temperature calculations assume a pure light source that may not be true in the specific scene
the camera is imaging. To compensate for any residual colorcast, the TINT parameter can adjust the
RGB color balance with a compensating Magenta - Green color component. Default is 0.000. When
selected, a secondary keypad will appear allowing you to enter the desired Tint value directly.
NOTE: Selecting Calc White Balance calculates a new Tint value. This is maintained if the Color Temp is
adjusted via the Color Temp parameter. If you select ANY presets, Tint will be reset to zero, which is the
default value.

CALC WHITE BALANCE
The Calc White Balance function analyzes the central 25% of the image visible in the monitor to
calculate a Color Temperature that will render a white object as white.

To use Calc White Balance function, place a White or Gray object under the ambient light, select the
Calc White Balance function and then press the Calc White Balance function box. Calc White Balance is
also assigned to a User Key on the REDMOTE and Side Handle as a factory default setting.
RESOLUTION
Allows adjustment of resolution.

Default is 5K 2:1

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REDCODE
Allows adjustment of REDCODE settings.

Range is 3:1 to 18:1
Default is 8:1
Use the scroll ribbon to select a target REDCODE compression ratio.
The camera will automatically select the closest REDCODE to the desired target.
The display will always show the "current" compression ratio being used by the camera.
If the camera is able to achieve the desired target compression ratio, it will be displayed in white. If the
camera is unable to achieve the target compression ratio, it will be displayed in yellow.

The current compression ratio will automatically be re-calculated when changes are made to Resolution,
FPS, HDRX Mode, Media, or Target REDCODE.

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REDCODE OPTIONS FOR VARIOUS FRAME RATES
Minimum frame rate is 1 sec per frame; maximum frame rate is a function of REDCODE setting, and
record resolution:
FRAMERATE (FPS)
F
O
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M
A
T

24 25 30 48 50 60 72 75 90 96 100 120 150 175 210 250 288 300
5K
RC
3:1
RC
4:1
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7:1
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8:1
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5K
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6:1
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12:1
- - - - - - - -
5K
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RC
3:1
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3:1
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4:1
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6:1
RC
6:1
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8:1
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9:1
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9:1
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11:1
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12:1
- - - - - - -
5K
WS
RC
3:1
RC
3:1
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3:1
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5:1
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5:1
RC
6:1
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8:1
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8:1
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9:1
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10:1
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10:1
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12:1
- - - - - -
5K
ANA
RC
3:1
RC
3:1
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3:1
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5:1
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6:1
RC
7:1
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7:1
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8:1
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9:1
- - - - - - - -
4K
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
5:1
RC
5:1
RC
6:1
RC
7:1
RC
8:1
RC
8:1
RC
9:1
RC
10:1
- - - - - -
4K
HD
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
4:1
RC
5:1
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6:1
RC
6:1
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7:1
RC
8:1
RC
8:1
RC
10:1
- - - - - -
3K
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
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4:1
RC
5:1
RC
5:1
RC
5:1
RC
6:1
RC
8:1
- - - - -
3K
HD
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
4:1
RC
4:1
RC
4:1
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RC
5:1
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6:1
RC
7:1
- - - - -
2K
RC
3:1
RC
3:1
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3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
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3:1
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3:1
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3:1
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3:1
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4:1
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5:1
- - -
2K
HD
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
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3:1
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4:1
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5:1
- - -
2K
WS
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
RC
3:1
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3:1
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3:1
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3:1
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1K
HD
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3:1
RC
3:1
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3:1
RC
3:1
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3:1
RC
3:1
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RC
4:1
RC
4:1

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FORMAT

SECONDARY MENUS
Press the Menu button on the REDMOTE / Side Handle or touch the MENU icon on the LCD to
access the Secondary Menus.
Available options in this menu screen are HDR, FOCUS, PRESETS, MEDIA, SETTINGS, and POWER.
EXPOSURE is not implemented at this time.

HDR MENU
Available options are HDR OFF, HDRx and STOPS.
NOTE: HDR mode cannot be modified when in Magnify 1:1 mode.

HDR ON / OFF
By default, HDRx is OFF (HDR button is illuminated Blue). In the Lower Status Group of the Viewfinder
screen, the HDR text is Gray, indicating HDRx is inactive.

To turn HDRx on, navigate to the HDRx button using the Navigation Group and press ENTER, or from
the touchscreen directly touch the HDRx button. In the Lower Status Group of the Viewfinder screen, the
HDR text will turn White, indicating HDRx is active.

STOPS
To adjust the STOPS parameter, select the Stops box and use the UP / DOWN arrows to adjust.

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Range is 1 to 6.
Default is 2.
FOCUS MENU
The Focus Menu is used to enable and select Focus parameters including MODE and ZONES.

MODE
MANUAL FOCUS
To adjust the MODE parameter, select the Menu box and use the UP / DOWN arrows to adjust.
Available options are MANUAL and CONFIRM. Default is MANUAL.
MANUAL
When selected all focus operations are manual.
CONFIRM
Enables the Center or Spot focus square for use with manual focus. This mode provides additional
focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot
window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm
operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point
of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision
manual focus.

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AUTO FOCUS
NOTE: The following menus will ONLY appear if a DSMC Canon Mount is installed with a Canon
or Sigma lens attached.
With a DSMC Canon Mount installed and a supported lens attached, available options become
MANUAL, CONFIRM, SINGLE, CONTINUOUS, TOUCH TRACK, and RACK. Default is MANUAL.
All settings except MANUAL place a single square (Center) or a single rectangle (Spot) on the screen
(depending on the ZONES selection) that indicate where the image is in focus.
Pressing the designated button for spot focus (REDMOTE / Side Handle button A default) will cycle you
through each Focus Mode option in order as you press the button repeatedly.

Performance of Auto Focus may be reduced under the following conditions:
The subject is dark or distant.
There is inadequate contrast between the subject and background.
The scene has reflective highlights.
The subject is backlit.
There is inadequate surface contrast/detail inside the window.
NOTE: Edge Mode can be used for additional assistance in these conditions. Refer to SETTINGS
MENU > DISPLAY > TOOLS > EDGE.

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MANUAL
When selected all focus operations are manual.
CONFIRM
Enables the Center or Spot focus square for use with manual focus. This mode provides additional
focus assistance to the photographer using RED, YELLOW, and GREEN color changes to the focus spot
window. Inadequate subject illumination and/or contrast may interfere with normal Focus Confirm
operation.
For best results with Focus Confirm, operators should 'rock' the focus ring -- focusing through the point
of optimum focusing and back again in decreasing amplitude -- as when 'zeroing-in' for precision
manual focus.
SINGLE
A Focus / Record Button half-press performs single-shot AF. Optimized for rapid focus even under low-
contrast conditions. Works with both Center and Spot Zones.
CONTINUOUS
Once engaged with half-press, will attempt to keep objects in AF window in focus. Works best with
good lighting and contrast. Works with both Center and Spot Zones.
TOUCH TRACK
Dynamically updating positionable AF using touchscreen. Works with Spot Zone only. Keep AF Spot on
subject while moving across frame, will continuously focus on spot.
RACK
For quickly selecting two focus points and executing rack focus between them. Focus points are
selected using the Touchscreen. Shutter half-press executes rack movement. Works with Spot Zone
only.
Rack mode remembers the last Center or Spot position and focus setting as the first rack point. A
second rack point needs to be defined by moving the spot window to the desired second location. If the
spot window is not moved, a shutter half-press will only cause the lens to execute a single AF
adjustment on the original Spot. On the other hand, when two rack points have already been defined,
the rack point can be updated by moving the spot to a new location. This will replace the rack point that
is not in focus at that moment.

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DSMC CANON MOUNT ELECTRONICALLY SUPPORTED LENSES
Canon EF 100-400mm f/4.5-5.6L IS
Canon EF 100mm f/2.0 USM
Canon EF 100mm f/2.8L Macro IS USM
Canon EF 135mm f/2.0L
Canon EF 135mm f/2.8 Soft Focus
Canon EF 14mm f/2.8L II USM
Canon EF 15mm f/2.8 Fisheye
Canon EF 16-35mm f/2.8L II
Canon EF 17-40mm f/4L
Canon EF 180mm f/3.5L Macro
Canon EF 200mm f/2.0L IS
Canon EF 200mm f/2.8L II
Canon EF 24-105mm f/4L IS
Canon EF 24-70mm f/2.8L
Canon EF 24mm f/2.8
Canon EF 28-300mm f/3.5-5.6L IS
Canon EF 28mm f/2.8
Canon EF 300mm f/4L IS
Canon EF 35mm f/2
Canon EF 400mm f/4.0 DO IS
Canon EF 50mm f/2.5 Compact Macro
Canon EF 70-200mm f/2.8L IS
Canon EF 70-200mm f/2.8L IS II USM
Canon EF 70-200mm f/4L
Canon EF 70-300mm f/4-5.6 IS USM
Canon EF 70-300mm f/4.5-5.6 DO IS USM
Canon EF-S 10-22mm f/3.5-4.5 USM
Canon EF-S 17-55mm f/2.8 IS USM
Canon EF-S 18-200mm f/3.5-5.6 IS
Canon EF-S 60mm f/2.8 Macro USM
Sigma 10-20mm f/3.5 EX DC HSM
Sigma 20mm f/1.8 EX DG ASP RF
Sigma 24-70mm f/2.8 IF EX DG HSM
Sigma 50mm f/1.4 EX DG HSM
Sigma 70-200mm f/2.8 EX DG APO Macro HSM II
Sigma 85mm f/1.4 EX DG HSM
Sigma APO 50-150mm f/2.8 II EX DC APO HSM
Zeiss Distagon T* 18mm f/3.5
Zeiss Distagon T* 25mm f/2
Zeiss Planar 50mm f/1.4 ZE
Zeiss Makro-Planar 50mm f/2
Zeiss Planar T* 85mm f/1.4
Zeiss Planar 50mm f/1.4 ZE
Zeiss Planar T* 85mm f/1.4

tr
DSMC NIKON MOUNT ELECTRONICALLY SUPPORTED LENSES
AF-S Nikkor 24mm f/1.4 G ED
AF-S Nikkor 35mm f/1.4 G
AF-S Micro-Nikkor 60mm f/2.8 G ED
AF-S Nikkor 14-24mm f/2.8 G ED
AF-S Nikkor 24-70mm f/2.8 G ED
AF-S Nikkor 70-200mm f/2.8 G II ED VR

DSMC LEICA-M MOUNT LENSES
The RED DSMC LEICA-M Mount is compatible with all Leica M-series lenses with focal lengths of 50mm
and greater EXCEPT the 50mm f2.0 Dual-Range Summicron. The 50mm Dual-Range Summicron has a

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protruding lug on the exterior of the lens body for mounting a supplementary finder, and this lug
interferes with the DSMC LEICA-M Mounts lock ring.
Most Leica lenses with focal lengths of less than 50mm will encounter mechanical interference between
the rear lens cell and the cameras front panel.
Note: Attempting to mount Leica lenses of focal lengths of less than 50mm could result in damage to
the lens and/or the camera.
A new OLPF frame (included) is required to use the Leica-M mount
Replacement OLPF frame is compatible with all DSMC lens mounts
OLPF frame upgrade may be performed by customer or RED, free of charge
ZONES
Available options are CENTER and SPOT. Default is CENTER. This control allows selection of the boxes
used to indicate objects in/out of focus.

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CENTER
Provides a large, square target for focus. When objects located in the circle are in focus, the square will
be Yellow or Green. When objects located in the square are out of focus, the square will be Red.

SPOT
Provides a small, square target for precise focus (similar to Center focus, only smaller). When objects
located in the square are in focus, the square will be Yellow or Green. When objects located in the
square are out of focus, the square will be Red.

SPOT FOCUS INDICATOR
Moving
The spot focus square can be moved around the screen.
Touchscreen
Press the Touchscreen on the location you wish to relocate the Spot Focus window.
Side Handle / REDMOTE

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1. Navigate to the focus menu.
2. Press the down arrow on the Navigation Group.
3. The spot focus square line weight will increase and the Red cursor under FOCUS will dim slightly.

4. Use the directional arrows to move the Spot Focus square to the desired location.

5. Press the ENTER button.
6. To exit, Press the MENU button.

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Resizing
The spot focus square can be resized using the Navigational Wheel or the Touchscreen.
Touchscreen
Each Double-tap the Spot window will step through the three possible window sizes. After reaching the
largest size, the sequence will restart with the window at the smallest size.
After following Steps 1, 2, and 3 in the instructions for Spot window repositioning (see above), simply
rotate the Scroll Wheel to cycle through the three possible window sizes. Press MENU to exit.
LENS INFORMATION DISPLAY
RED DSMC TI PL MOUNT + LENS
When a RED DSMC Ti PL Mount is installed and a Lens equipped with Cookes S4/i system (or
equivalent is attached, the Focal Length and Focal Distance is displayed on the LCD, EVF and external
monitors.

The focal length and focal distance values and range will vary depending on the attached lens. When the
focal length or focal distance of the lens is manipulated, the current values are displayed.

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DSMC CANON MOUNT + LENS
When a DSMC Canon Mount is installed, and a Canon EF or EF-S Lens or equivalent is attached, the
Focal Length and Focal Distance is displayed on the LCD, EVF and external monitors. When AF is set to
Manual or Confirm mode, the focus distance displays as a pair of Near - Far distances. When it is in AF
mode, a single estimated Focus distance is displayed.

The focal length and focal distance values and range will vary depending on the attached lens. When the
focal length of the lens is manipulated, the current value is displayed under Focal Length. The Focal
Distance can be changed under MAIN MENU > -.- (F-STOP) > ADVANCED SETTINGS.

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PRESETS MENU
CAMERA PRESETS
Camera Presets are used to store and recall camera setup information such as LOOKs, key mappings,
I/O configuration, etc.
Your RED DSMC camera has a number of factory-installed presets.
APPLYING A PRESET
Select Presets from the secondary menus
Select the desired preset from the selection ribbon
Press APPLY button
Custom presets may be created to store groups of camera settings. For example; White Balance and
ISO settings for a particular shooting location can be captured as a preset and easily recalled later.
Presets can also be saved on an SSD and applied to other RED DSMC cameras.
CREATING A PRESET
Select Presets from the secondary menus

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Select Create and enter a name for the new preset using the QWERTY keyboard
Press OK on keyboard to save the preset name

Copy the desired settings from the left box of the interface to the right box using the select one (-->)
or select all button

Select and press Create button (upper right corner of the screen)

The preset has been created and is now stored on the camera.

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SHARING PRESETS
Presets may be shared between RED DSMC cameras using SSD media.

Camera to camera

Camera to multiple cameras

Select Presets from the secondary menu:

On Camera
On SSD

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COPY PRESETS FROM CAMERA TO SSD
Use scroll ribbon to select desired preset in camera box
Use --> button to add the preset to the SSD box
COPY PRESETS FROM SSD TO CAMERA
Use scroll ribbon to select desired preset in SSD box
Use <-- button to add the preset to the Camera box
The following window will appear

Select Yes to copy the preset to the camera and apply the setting
Select No to copy the preset to the camera without applying the settings
MANAGING PRESET FILES
The APPLY, DELETE, and CREATE buttons are only affect the camera box. Presets on the SSD will
remain there until the media is reformatted.

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LOOKS PRESETS
Look Presets allows you to save the specific color, image, white balance, and detail settings to be used
for other projects. As looks are created, they will be displayed alphabetically.

For detailed information on LOOKs, see the REDCINE-X Operation Guide, available on RED.com

AUTO PRESETS
The Auto Presets function allows you to specify pre-selected presets on Startup and for Preview and
Playback

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MEDIA MENU
The Media Menu is used to format media (SSD) prior to use on the camera as well as to Eject (unmount)
the media prior to removal from the camera. Available options when selected are SELECT MEDIA,
FORMAT MEDIA, EJECT MEDIA, and UTILITIES.
IMPORTANT: Media MUST be ejected from the camera before removal to prevent corruption
and/or loss of data on media.

SELECT MEDIA
Allows you to select the Media location to be used by the camera. Default is the Side SSD (S-SSD)
Module.
FORMAT MEDIA
When selected, a new dialog box will appear allowing you to add properties to the media highlighted in
the Current Media box when formatting. Available options are REEL NO, CAM ID, CAM POS, and
FORMAT to format the media with the values entered.

NOTE: If clips are present on the media, you will be informed of how many clips will be erased
when you format the media.

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REEL NO.
When selected a keypad will appear allowing you to enter a value between 1 and 999.
CAMERA ID (SLATE)
Identifies the camera with a letter A through Z. Default is A.
CAMERA POS (POSITION)
Identifies the camera position as Right, Left or Center. Default is Center.
Edge Timecode Start
Users may manually enter an Edge Timecode value. (Seldom used)
FORMAT
When selected, formats the media and adds the selected properties.
During formatting, the camera will display Formatting with a Green status bar. REDMOTE will also
display this message.

When formatting is complete, camera will display The magazine was successfully re-formatted. The
digital magazine is ready for immediate use. REDMOTE will also display this message.

EJECT MEDIA
When selected will Eject (unmount) the media highlighted in the Select Media box.

When ejected, camera will display Media Ejected Successfully. REDMOTE will also display this
message.

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UTILITIES
Options are SECURE FORMAT.

SECURE FORMAT
Secure Format is a low-level format the rebuilds the SSD file system. It should only be used if the
performance of the SSD is in question.

NOTE: If clips are present on the media, you will be informed of how many clips will be erased when you
secure format the media.

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SETTINGS MENU
This section describes the various secondary controls available to configure the camera. Menu options
are DISPLAY, LOOK, SENSOR, PROJECT, MODES, AUDIO/VIDEO, SETUP, MAINTENANCE, and
PLAYBACK.

DISPLAY
Available options are TOOLS, ZEBRA, OVERLAY, MODES, FRAME GUIDE, AREA GUIDES, and
MONITOR.

TOOLS
The Tools menu permits the operator to adjust the GUI elements displayed on the Viewfinder output(s)
Available options are OFF, EXPOSURE, FOCUS, VIDEO, EDGE, MAGNIFY, and RAW. The Dialog is
available by either going to SETTINGS > DISPLAY > TOOLS or simply clicking on the histogram in the
lower left.

OFF
Turns off any of the display modes in the first line.

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EXPOSURE
This will show areas of under exposure (Purple) or over exposure (Red) on top of a monochrome image.
The color is based on RAW data so over/under exposure refers to data actually close to clipping in the
sensor. When selected, the icon E will be displayed in the Lower Status Group.

The EXPOSURE meters color bands provide the following information:
PURPLE Minimum Exposure
RED Maximum Exposure
Between minimum and maximum exposure values, the image is displayed as a monochrome image.

In the image, Purple areas represent sensor exposure levels that are likely to be noisy if gained up in
post-production. Red areas represent sensor exposure levels that are at clipping.

NOTE: As EXPOSURE meters sensor RAW information, it is not affected by any RGB domain
adjustments - such as ISO rating, FLUT, White Balance, Video Gain or other LOOK information.
NOTE: Because the RAW data represents a wider color space than RGB, provided that the Red
(clip) color is not present in EXPOSURE view, even if Red (clip) color is present in VIDEO view, the
apparently clipped RGB highlights can be recovered in post-production by adjustment of ISO,
FLUT or changing the KNEE and WHITE values of the CURVE box.

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FOCUS
This will emphasize edges in the image without changing brightness/image content so it is easier to
judge if the image is in focus. By adjusting your lens zoom and focus you can see which objects are
coming into and falling out of focus. When selected, the icon F will be displayed in the Lower Status
Group.

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VIDEO
VIDEO displays a multi-color color overlay that allows you to check the video level of the RGB monitor
path (calibrated to the SMPTE test signal) and any outputs driven from that path - such as HD-SDI and
HDMI. When selected, the icon V will be displayed in the Lower Status Group.

Purple represents Super-Black, Dark Blue represents Black, Teal represents deep shadow, Green
represents 18% Gray, Pink represents Skin Tone, Straw represents White, and Yellow, Orange and RED
represent various degrees of signal clipping in RGB space.
By adjusting ISO, FLUT and Shadow while looking at VIDEO check, the operator can ensure that Black,
White and 18% Gray values conform to the desired levels on the HD-SDI and /or HDMI outputs.
The VIDEO bands provide the following information:

At all other values, the monochrome image displayed represents the luminance value of the ISO
adjusted image.

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EDGE
EDGE displays a color overlay that outlines the edges of objects in an outline mode. By adjusting your
lens zoom and focus you can pinpoint focus. When selected, the icon F will be displayed in the
Lower Status Group.
WARNING: This will potentially interfere with recordings done via HDMI/HD-SDI in "Clean" Mode!

MAGNIFY
Magnify displays the central region of the sensor in 1:1 pixel resolution. When enabled, the 1:1 text in the
Lower Status Group will change to Green. If in Magnify mode, when the Record button is pressed, the
system will automatically exit this mode. When using a touchscreen you can also perform this function
by pinching your fingers together and apart.
NOTE: HDR mode cannot be modified when in Magnify 1:1 mode.

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NOTE: When in magnify mode, you will not be able to adjust frame rate or resolution. These
options will be Grayed out.

RAW
RAW displays the image at a standardized ISO 320 without any look customizations. When selected,
OFF will be highlighted in the Lower Status Group.

ZEBRA
Zebras enable and adjust the upper and lower values for two independent Zebra indicators. One zebra
may be used for highlight exposure, and the other for mid tone or shadows. Zebras will be visible when
in 1:1 zoom. By default, Zebra 1 and 2 are disabled.

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ZEBRA 1
To enable, select ZEBRA 1 check box. Areas of the image exposed within these ranges will be indicated
by crosshatched overlays at - 45 degrees relative to vertical. Zebra 1 is shown in the image below.

High IRE
Change the desired setting between 93 and 109 (default is 108).
Low IRE
ZEBRA 2
To enable, select ZEBRA 2 check box. Areas of the image exposed within these ranges will be indicated
by crosshatched overlays at + 45 degrees relative to vertical. Zebra 2 is shown in the image below.

High IRE

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Low IRE
OVERLAY
Allows you to enable and color code graphic overlays visible the on the Viewfinder and Preview outputs.

Use check boxes and pull down menus to control appearance of the overlays

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Overlay Elements

01:17:06:16
File Name
Time Code Scene Name
Lens Info
Motion Data
(Pitch & Roll)

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MODES
Available GUI display mode adjustments are Exposure, Shutter Mode, Aperture, and Focal Distance.

EXPOSURE
Selects GUI display of Shutter Exposure on Main screen as Time (1/xx sec) or Angle (Degrees). Default is
Time. Angle is shown below.

SHUTTER
Enables one of two shutter timing (duration) modes: Absolute or Relative. Default selection is Absolute.
Absolute
Shutter Speed is defined exclusively by the Shutter Speed setting.
NOTE: When operating in Absolute mode, the shutter speed is reported in White text.
Relative
Shutter Speed is defined by the requested Shutter Speed divided by the ratio of the current capture fps
to the Project TIME BASE fps.
NOTE: When operating in Relative mode, the shutter speed is reported in Yellow text.

NOTE: If the operator requests a shutter speed that is outside the capability of the camera, the
camera will automatically limit them when a limiting parameter changes.

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APERTURE
Selects GUI display of f/stop as 1/4 f Stop or 1/3 f Stop. Default is 1/3.
FOCAL DISTANCE
Allows you to set the Lens Info to display in Metric or Imperial measurements. Default is Imperial.

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GUIDES
This sub-menu provides a selection of frame guides and safe action and safe title guides. User definable
frame, safe action, and safe title guides may be saved as a user preference, thereby permitting the
camera guides to be fully customized for any application. Available options are Mode, Scale, Offset X/Y,
and Appearance.

MODE
Available options are Off, Full, 4:3, 16:9, 1.85:1, 1.9:1, 2.4:1, or User.
SCALE
Available range is 0-100%

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OFFSET X/Y
Available range: -100 to +100%
APPEARANCE
Controls the line style, color, and opacity of the guides
Line style: Solid, Dashed, or Bracket
Color: Sets the frame guideline color to White, Gray, Teal, Purple, Yellow, Green, Blue, Red, or
Black. Select the color that provides maximum color contrast with the scene you are shooting.
Default is White
Opacity: Sets the frame guide opacity. Available options are 0%, 25%, 50%, 75% and 100%
RELATIVE TO FRAME GUIDE
Check box allows Action and Title Guides to be sized and positioned relative to the Frame Guide or to
the recording area.

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GENERAL TAB

Center
Controls the position of the center marker
Can be relative to the recording area or any of the guides
Color and opacity are selectable
Grid
Controls the location and appearance of the 1/3 grid

Shading
Shades the screen outside of the selected area

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MONITOR
Allows you to modify brightness of the LCD and EVF parameters through Brightness Control. Also allows
options for the LCD touchscreen to be changed through Touch Gestures.

BRIGHTNESS CONTROL
Slide to the right for a brighter display; slide to the left for a dimmer display.
TOUCH GESTURES
These options apply ONLY to the Touchscreen LCD.
Pinch to Magnify
When selected, allows you to use two fingers in a pinching motion on the screen to enable Focus Zoom.
To zoom out to normal view, slide fingers apart.
Double-Click Right 25% to Record
When selected, the right 25% of the screen can be double-tapped to start and double-tapped again to
stop recording.
Double-Click Left 25% to Start AF
When selected, the left 25% of the screen can be double-tapped to start the Auto focus (when DSMC
Canon Mount and compatible lens are installed).
LOOK
The LOOK menu permits adjustment of COLOR, GAIN, FLUT
, and CURVE metadata values. These

parameters will affect the look of the monitor path, but do not affect the actual REDCODE RAW data
being recorded.

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COLOR
The Color sub-menu permits adjustment of SATURATION, CONTRAST, and BRIGHTNESS.

SATURATION
Adjusts color saturation. Range is 0.0 (monochrome) to +3.8 (super color). Default is 1.0.
CONTRAST
Adjusts the overall contrast of the image. Range is -1.0 (flat) to +1.0 (max contrast). Default is 0.0.
BRIGHTNESS
Adjusts brightness without crushing highlights. Available range is 10.0 to +10.0. Default is 0.0.
GAIN
The GAIN sub-menu permits adjustment of RED GAIN, BLUE GAIN and GREEN GAIN.

RED
Adjusts the gain of the RED channel only. Range is 0.0 (no Red) to 10.0. Default is 1.0.

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BLUE
Adjusts the gain of the BLUE channel only. Range is 0.0 (no Blue) to 10.0. Default is 1.0.
GREEN
Adjusts the gain of the GREEN channel only. Range is 0.0 (no Green) to 10.0. Default is 1.0.
FLUT
The FLUT sub-menu permits adjustment of FLUT, EXPOSURE COMPENSATION and SHADOW.

FLUT
FLUT (Floating Point Lookup Table) adjusts mid-range tone values. Range -8.0 to +8.0. Default is 0.0.
EXPOSURE
Adjusts exposure compensation. Available exposure range is 7.0 to +7.0. Default is 0.0.
SHADOW
Shadow adjusts the toe value of the FLUT or in other words, the tone near Black. Range is -2.0 to +2.0.
Default is 0.0. Increasing the Shadow value raises the video level of near Blacks. Lowering the Shadow
value crushes the video level of near Blacks.

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CURVES
The curves dialog box allows the user to set define curves for Luminance, and the red, green, and blue
channels.

COLOR/GAMMA
The COLOR/GAMMA sub-menu permits adjustment of the monitor output Color Space and Gamma
curves.

Available Color Space Options

Available Gama Space Option

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PROJECT
The project menu sets the operating parameters the camera will use for a given project. Options
available are TIME BASE and TIME CODE.

TIME BASE
Sets the TIME BASE (fps) to be used for the project - the primary acquisition frame rate, time code count
and playback & editing frame rate. Setting is displayed in the lower left corner of VIEWFINDER output(s).
Available options are 23.98, 24.00, 25.00, 29.97, 47.96, 48.00, 50.00, and 59.94. Default is 23.98.

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TIME CODE

TIME CODE DISPLAY
Time Code Display allows you to choose between Time of Day (TOD) and Edge display. In TOD mode,
the time runs continually. With edge display, the time code starts and stops coincident with recording.
TIME CODE SOURCE
Selects the TIME CODE source to be used. Available options are USER PROVIDED, EXTERNAL: BRAIN,
and EXTERNAL: REAR MODULE.
TIME CODE
SOURCE
MODE COMMENTS
User Provided
(Internal)
Real Time
Clock (RTC)
When selected the camera uses the cameras Real Time Clock as the time code counter source
(snapshot of the RTC.)
Set Manually When selected allows the user to define a custom value as the time code counter seed.
The three numerical boxes below allow you to set hours, minutes and seconds (in that order).

External: Brain Varies by
device
Uses the generated by and external device connected to an input on the camera brain
External: Rear
Module
Varies by
device
Uses the generated by and external device connected to an input on a rear module such as the
RED PRO I/O MODULE

Time Code and HANC data
The time code displayed becomes the primary time code HANC data while the other time code
is sent as secondary.

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SLATE
When selected, a new dialog box will appear allowing you to add properties to the media highlighted in
the Current Media box when formatting. Available options are CAM ID, CAM POS and SET to set the
values entered.
Auto-Incrementing Take
If there is a value entered in the Scene box, the camera will automatically increment the take number
every time the camera starts and stops recording.
Note: The scene name is limited to eight characters.

Scene Information Camera Information

Project Information Auto Slate Information
SYSTEM STATUS
Selecting System Status from the Project menu displays key project information.

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AUDIO/VIDEO
Menu adjusts AUDIO INPUT, AUDIO OUTPUT, AUDIO CHANNELS, MONITOR CONTROL, and TEST
SIGNALS.

AUDIO CONTROL
Audio channel level inputs are displayed in the lower section of the UI. When audio is enabled the circle
next to CH1, CH2 etc will be Green and the box around the signal will be highlighted.

GAIN IN
Allows you to adjust levels for audio inputs. Range 15 to 57 dB, default is 17 dB.

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VOLUME OUT
Allows you to adjust levels for audio outputs. Range -28 to -0 dB, default is -9 dB.

CAMERA MIX AND PRO I/O MIX
Audio tracks may be assigned to the Left, Middle, or Right side of a stereo mix.

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AUDIO CHANNELS
Allows selection of audio inputs and operational modes.

INPUT
Available inputs are CH 1/2 and CH 3/4.
NOTE: For cameras not equipped with a PRO I/O module, options are CH 1/2.
Source
Available options are NONE, CAM ANALOG, PRO I/O ANALOG, PRO I/O AES A, and PRO I/O AES B.
NOTE: For cameras not equipped with a PRO I/O module, options are NONE or CAM ANALOG.
Mode
Available options are UNBALANCED and BALANCED.
Link
Enables linkage between Channel Gain controls.

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MONITOR CONTROL

RESOLUTION & FREQUENCY
This sub-menu allows the monitor outputs settings to be modified. For changes to take effect, the
camera MUST be restarted.

The following screen resolutions and refresh rates are available:

Note: The HD-SDI selection will be filtered by the camera to prevent selection of an integer output
frequency when a non-integer Project Frame Rate has been selected, and vice versa. The HDMI
output frame rate has no restriction.

Resolution Frequency (Hz)

720P 1080P 23.98 24.00 25.00 29.97 30.00 50.00 59.94 60.00 Auto
Brain HDMI

Brain HD-SDI
Pro I/O HD-SDI PVW
Pro I/O HD-SDI PGM

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MONITOR OVERLAY MODES
Modes may be assigned to all monitor outputs using this dialog box

The following modes are available:

Menus Preview Clean Overlay
3D
Left Eye
3D
Right Eye
Mirror
Brain HDMI
Mirror Brain
HD-SDI
Brain LCD

Brain HDMI

Brain HD SDI

Pro I/O LCD

Pro I/O
HD_SDI PVW

Pro I/O
HD_SDI PGM

Note: A maximum of 3 screens can be assigned at any given time. Additional screens may mirror
others of the same resolution.

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PRIORITY
The monitor priority determines the priority in which the monitors will become the control surface.
Note: There can only be one control surface active at any given time.

TEST SIGNALS
Permits the video monitor outputs to be replaced with a video test pattern. Available test patterns are
CHIP CHART and SMPTE BARS.

To enable a desired test signal, select the desired test signal box. To exit the test signal, tap the
touchscreen one time or press the Enter or Menu button on the Side Handle or REDMOTE.
CHIP CHART

SMPTE BARS

NOTE: RED DSMC test signals are not recordable, they are provided to help align external video
monitors connected via the HD-SDI or HDMI outputs.

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SETUP
This menu permits a variety of system setup tasks to be accomplished. Options available are KEYS /
SHORTCUTS, DATE / TIME, NETWORK, SERIAL, REMOTE, GPIO, and SYSTEM.

KEYS
Use Keys function to customize the assignment of DSMC camera controls.
KEY MAPPING
With Key Mapping, you press the button you want to change and follow on-screen instructions to
complete the change.
When the Key Mapping tab is highlighted:
Press the camera key you want to change.
Use the pull down to select the desired function
Press menu or a blank area of the touchscreen to save the setting

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OPTIONS
Select the desired option

SOFT KEYS
Select the desired option

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ADVANCED
The advanced tab allows you to set key functions using a series of pull down menus
Select Key Source (Brain, REDMOTE, Side SSD, etc.)
Select the key you wish to change
Select the desired key action

WARNING: Do not remap the navigation keys (Up, Down, Left, Right, Select (Enter), or Menu) on the
side handle doing so could render the camera inoperable.
DATE / TIME
This menu allows the user to reset the battery backed up internal clock of the camera. This time value is
used as a timestamp on the .R3D files when recording to the RED MAG 1.8 SSD media.

NOTE: Enter time in 24-hour clock format. i.e. 2:35 pm should be entered as 14:35:00.

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COMMUNICATION
Communication Menu allows you to set a unique identification for the camera (or a group of cameras)
when operating in command and control communications network. Parameters are NAME, GROUP,
TARGET, set a SERIAL PROTOCOL, ENABLE DHCP, C2C or EXT, IP ADDRESS, NETMASK and
GATEWAY. Using the serial port or a direct Ethernet interconnect, two cameras, or one camera and one
external device can be connected. If the camera is connected via Ethernet to a hub or router, multiple
cameras and devices can communicate to each other.

NAME
Allows the user to create a unique camera NAME used in network communications
Note: the camera name field is limited to 8 characters.

GROUP
A camera can also be identified as a member of a GROUP of devices. (For example, a group "3DRIG_A"
could include two cameras "CAM_A_L" and "CAM_A_R"). The default group is named "DEFAULT".
Group names (like camera Names) can be used to uniquely address commands to a specific group of
networked cameras. Note: the group name is limited to 8 characters, default name is DEFAULT.
TARGET
Using TARGET the user can specify if this camera can send commands to ALL devices on the network,
to NONE of the devices on the network (meaning the camera will only listen to messages and not
originate messages) or to a specific TARGET device - which can either be the NAME of a specific
camera or device or a name of a GROUP of cameras or devices.

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This structure allows for a lot of flexibility. For example on a multi-rig 3D shoot the user can either send
commands to an individual camera (e.g. Set CAM_A_L to 1/48th exposure), to a group of cameras (e.g.
Set "3DRIG_A" to 48 FPS), or to all cameras (e.g. Start Recording on all cameras). It is important to note
that with the exception of the NONE setting, all command filtering is happening on the receiver side of
the communication link.

SERIAL PROTOCOL
The camera can communicate to external devices via RS232 Serial Port and / or the Gigabit Ethernet
Port.
This selection allows the user to specify the serial communications PROTOCOL. Available options are:
NONE (default)
ELEMENT TECHNICA
3ALITY SPC 7100
3ALITY SPC 7000
RED Control Protocol
RCP 3D Metadata

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NETWORK
If the Gigabit Ethernet port is used, additional settings are required. Each camera or device requires a
unique IP ADDRESS. For simple camera-to-camera communication via Ethernet, both cameras need to
be in the same sub-net.
Use the same sub-NETMASK and GATEWAY addresses and the first three groups of the IP address
need to be the same.
In the example below, two cameras two cameras are assigned to the group 3D RIG. Note the IP
Addresses.

Master Slave
DHCP
If a DHCP-server is available in the
communications network the DHCP option can
be checked and the camera will obtain an IP
Address, Subnet Mask and Gateway address
automatically from the DHCP -server.
C2C
If the camera-to-camera (C2C) check box is
checked, changes to the settings on this
camera will be sent out via the network as UDP
packets as a SET command (Which then sets
the property on other cameras). SET commands
sent to this camera will not be propagated.
EXT
If the EXT check box is checked this camera
can be controlled via TCP/IP from an external
device.
IP Address
Permits the user to adjust the cameras static IP
address.
Netmask
Permits the user to adjust the Subnet Mask
address.
Gateway
Permits the user to adjust the Gateway address.

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REDMOTE
This function is used to pair the camera to a REDMOTE for wireless operation.

MANUAL CHANNEL SELECT
The Manual Channel Select option allows the user to change the communication channel for the
REDLink wireless connection in the event of interference from other wireless devices. Auto (unchecked)
will pick the "cleanest" channel automatically on each camera boot. Manual Channel Select is the
default setting and for default uses Channel 0.
GPIO / SYNC
SYNC
Sensor Sync Mode allows the shutter timing (scan start) to be synced to an external signal.
Available options are: Off, Genlock, and MoCo. Default is Off.
Sources include the Brain and the Rear Module. Default is Brain.

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BRAIN GPIO
This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the camera brain.
Defaults are Sync In and Sync Out.

When General Purpose In is selected, pull-down menus are used to assign actions.

FUNCTION DEFINITION CONNECTOR
Sync In Accepts an Input Sync signal to control
Shutter Start timing
HD-SDI
Sync Out Provides an Output Sync signal to act as
a Shutter Start tally.
HD-SDI
General Purpose In Accepts an Input Trigger signal to act as
a General Purpose Input.
SYNC
General Purpose Out Provides an Output Tally to act as a
General Purpose Output tally signal
SYNC
Note: See Appendix C for pin information.

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PRO I/O GPIO
This menu is used to assign General Purpose Inputs and Outputs (GPIO) on the Pro I/O
Module.

Note: See Pro I/O Operating Guide for more information.

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SYSTEM
Available options are FAN CONTROL, RECORD SPEED and STANDBY SPEED as well as BEEP
SPEAKER and EVF TALLY LIGHT.

FAN CONTROL
Specifies cooling fan operation. Available options are AUTO and MANUAL. Manual will run the fan at the
speeds specified in RECORD SPEED and STANDBY SPEED. Default setting is AUTO.
Auto
This setting selects VARIABLE speed fan operation in standby based on the camera core temperature.
Manual
This setting allows you to set a fixed fan speed to be used during Record and Standby modes.
Record Speed
Sets a fixed fan speed to be used during Record. Range 25 100%. Default is 50%.
Standby Speed
Sets a fixed fan speed to be used during Standby. Range 25 100%. Default is 75%.

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Post Record Delay
This is the amount of time the fan will stay in the "record speed" setting before switching
back to "standby speed setting." This feature is helpful when shooting with two cameras.
Without this feature, as one camera comes out of record, the other could pick up the fan
sound as it goes to high speed. Times available are none, 10s, 30s, and 1min. Default is
None.
INDICATORS
Beep Speaker
Available options are OFF and RECORD/STOP. When RECORD/STOP is selected, an audible beep will
be heard when record is started and another when record is stopped.

EVF Tally Light
When checked, enables the Record Tally Red LED on the front of the EVF.

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RECORDING

External Recording Only
This defeats recording onto the Brain's SSD but continues to flag "REC START / STOP" in the HD-SDI
HANC metadata, so an external recorder can be remotely START / STOPPED by the Brain via the REC
key(s)
Enable Look Around
This shows an additional area outside the area that is bing recorded to the SSD / output from the HD-
SDI feed so that you can observe any items that may soon impinge on the record area for example a
boom mike may be about to drop into the active frame area and the operator can call that out to prevent
the take from being compromised.
Note: Selecting LOOK AROUND may have some effect on max frame rate available at the
selected frame size.

MAINTENANCE
The maintenance menu allows the user to check system status and information, save the camera
diagnostic LOG to attached media, perform a software update, calibrate the sensor, perform a camera
self test, and reset system settings to factory defaults.

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SYSTEM INFO
When selected the Viewfinder output(s) will display the camera Model, current firmware Version, installed
and camera P.I.N.

SAVE LOG
Select to write cameras .LOG file to the REDMAG 1.8 SSD. The .LOG file is a diagnostic tool that can
assist RED with camera troubleshooting. After capture, upload the .LOG file to the RED customer
service team contactable at www.RED.com/support.
After successfully writing the log file to media, viewfinder output(s) will display LOG SAVE COMPLETED.
REDMOTE will also display this message.

If media is not attached to the camera when attempting to perform a write log request, external monitors
will display NO MEDIA ATTACHED.
NOTE: Log files will be stored as *.txt files in the 1.8 SSD root directory.
SW UPDATE
NOTE: Firmware upgrade currently uses a force upgrade procedure as outlined in APPENDIX A:
UPGRADING CAMERA FIRMWARE.
CALIBRATION
Sensor calibration is a process where the camera generates a calibration map to correct for pixel
defects and offsets based on current system and environmental settings. This allows you to perform a

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Black Shading calibration of the MYSTERIUM X sensor two (2) different ways; Default (at 24 FPS @ 1/48
SEC) or using your current FPS/Exposure settings.

To calibrate the sensor the image needs to be as dark as possible:
At a minimum put a lens cap on the lens (WARNING: Not all lens-caps completely block IR. They are
made to protect the lens, not necessarily to block light...)
Preferably, take of the lens, and use the lens-mount cap provided by RED.
If possible, use a dark room.
Just closing the Iris is NOT sufficient.
Additionally a SSD needs to be inserted in the camera to store the raw images during calibration.
Calibration is required:
If the temperature deviates significantly from the currently used calibration, it is recommended to
recalibrate the sensor.
If very long exposure (~longer then 1/24 Sec) is used it is recommended to recalibrate.
After Calibration with a lens cap on and ISO set to maximum, the sensor should show a uniform noise
profile over the whole area without any falloffs on any side. You can check at which
temperature/exposure time the currently used calibration was taken on under SETTINGS >
MAINTENANCE > SYSTEM STATUS under Calibration.
Calibration maps will still be available after performing a system restore under SETTINGS >
MAINTENANCE > RESTORE SYSTEM; however the factory calibration map will be reselected.

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CURRENT CALMAP
Calibration maps are stored in the camera. Due to the nature of the camera, different calibration maps
are needed for different situations.

Factory
This is the calibration map generated during production. This map is always present and selected as
default on first use after performing a system restore under SETTINGS > MAINTENANCE > RESTORE
SYSTEM.
User HS
The user can select the CURRENT CALMAP. The dialog only shows the calibration maps stored in
memory (FACTORY and USER HS in this case).
BLACK SHADING (DEFAULT)
This option uses fixed settings which are the same used for the factory calibration (around 23 Deg C).
BLACK SHADING (CURRENT FPS/EXPOSURE SETTINGS)
This option generates a calibration with the currently set frame rate/exposure. This can be used to
generate a calibration for long exposures. After calibration (Which takes about 10 min), the new map is
automatically selected.

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BLACK SHADING PROCEDURE
The calibration procedures are the same for both BLACK SHADING options.
The calibration procedures are the same for both Black Shading (24 FPS @ 1/48 SEC) and Black
Shading (Current FPS/Exposure) options.
When selected, a screen will appear asking if you wish to proceed with Black Shading calibration.
REDMOTE will also display the following messages.

Black Shading calibration procedure:
1. Ensure the sensor is NOT exposed to the calibration light source by installing the lens cap properly.
2. Ensure a properly formatted SSD is attached to the camera and properly formatted.
3. Select OK to perform the Black Shading calibration. The calibration will make 2 passes.
4. A status screen will show progress of the Capturing step. Second pass shown.

5. Once Capturing is complete, a status screen will show progress of the Analyzing step.

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6. Once Analyzing is complete, a status screen will show progress of the Erasing step.

7. Once Erasing is complete, a status screen will show progress of the Programming step.

8. The camera will perform this procedure twice.
9. After Programming, CALIBRATION SUCCESSFUL will be displayed. Select OK to complete Black
Shading calibration.

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RESTORE SYSTEM
Restore System permits ALL camera configuration and setup data to be reset to factory default values.
When selected, you will be asked to confirm if you want to delete all settings and restore the factory
default settings. After settings are restored, DEFAULT SETTINGS RESTORED, INITIALIZING
RESTART Camera will automatically power down and will require you to manually power it up.

NOTE: User key settings will be reset as well as any other changes from the cameras default
settings. The REDMOTE will also require paring to communicate wirelessly with the camera.
REDISCOVER
Rediscovers all hardware and caches the data for future boot cycles.
When selected, you will be asked to confirm if you want to reset all hardware discovery settings. After
settings are reset, RESET HARDWARE DISCOVERY SUCCESSFUL, INITIALIZING RESTART
Camera will automatically power down and will require you to manually power it up.

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MOTION SENSOR CALIBRATION
The RED DSMC Camera displays data from the accelerometer to help orient the camera. After a
firmware upgrade or Factory Restore the motion sensors need to be re-calibrated through the
Maintenance->Motion Calib menu."

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PLAYBACK
Playback allows you to view clips on media currently attached to the camera. It also allows you to
change the look of the playback clips be changing settings available when in playback mode.
Playback controls can be accessed via the touchscreen or by using the navigation group on the DSMC
SIDEHANDLE or REDMOTE.
TOUCHSCREEN PLAYBACK COMMANDS
Center Double Tap: Pause/Play
Slide: Scrubs through clip
Click upper left/right upper corner: Next/Previous Clip
Double Click Left/Right: Set In/Out Point
NAVIGATION GROUP PLAYBACK COMMANDS
Left/Right: Next/Previous Clip
Center Button: Play/Pause
Wheel: Scrubs in Clip

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UPPER CONTROLS
From Left to Right are ISO, WHITE BALANCE, VIEW, PRESETS, MEDIA, SEETINGS, and META. Below
the settings is the clip playback status bar.

Exit Playback ICON (Touchscreen)
Select the O on the Left to exit Playback mode.
NOTE: The Menu ICON on the Right does not respond to commands when in Playback mode.

ISO
Allows you to change the ISO in the clip during playback.

WHITE BALANCE
Allows you to change the White Balance in the clip during playback.

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Advanced Menu
Opens the advanced White Balance settings without the ability to Calculate.

VIEW
Allows you to select the items to be displayed in the playback window. Available options are Center, File
Name, Time Code, Frame Guide, Action Guide, and Title Guide.

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PRESETS
Allows you to apply presets to the clip during playback.

MEDIA
When selected will list all available clips on the attached media.

Apply Image Metadata
When checked, image data such as color, gain, curves, etc. that were recorded with the image will be
displayed with the playback image. When unchecked, the native RGB image will be displayed.

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Touchscreen
1. Double-Tap the desired clip to open in the playback window.
2. Load will also highlight. You can also select LOAD to load the clip in the player and allow playback.

1. Select the desired clip to playback and press the ENTER button.
2. Load will highlight. Select LOAD to load the clip in the player and allow playback.

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SETTINGS
Available options are DISPLAY, LOOK and RECORD.

Display
Available options under Display are TOOLS and ZEBRA.

Tools
Allows you to toggle ON/OFF Exposure, Focus, Video, Edge, and RAW. Refer to SETTINGS MENU >
DISPLAY > TOOLS for complete details about these options.

Zebra
Allows you to toggle ON/OFF Zebras. Refer to SETTINGS MENU > DISPLAY > ZEBRA for complete
details about these options.

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Look
Allows you to adjust the Color, Gain, FUT, and Curve of the image during playback. Refer to SETTTINGS
MENU > DISPLAY > LOOK for complete details about these options.

Record (Exit)
When selected will exit playback to the main menu.

META
Displays current clip META information.

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CLIP PLAYBACK STATUS BAR
Displays the progress of the clip during playback.

Touchscreen
When using the touchscreen you can swipe your finger Left or Right to open and allow playback of the
previous or next clip on the media.
LOWER CONTROLS
From Left to Right, PLAYBACK SPEED, IN POINT MARKER, FRAME-BY-FRAME REVERSE,
PLAY/PAUSE, FRAME-BY-FRAME FORWARD, OUT POINT MARKER, PLAY ONCE/LOOP, and
PLAYBACK DIRECTION

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RESOLUTION / PROJECT FRAMERATE / QUALITY
Display clip Resolution, Framerate and Quality (REDCODE). When using the touchscreen, touch the
Resolution, Framerate and Quality (REDCODE) to display the METADATA for the clip.

HISTOGRAM
Displays the clip histogram. The histogram will change based on any changes made in the Upper
Controls. When using the touchscreen, touch the histogram to display the TOOLS menu.

PLAYBACK SPEED
Allows you to select x1, x2, x4, x8, or x16 playback speed.

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IN / OUT POINT MARKER
Allows you to set In and Out Points during clip playback. This allows you to playback only a certain
portion of the clip as desired. Helps when the clip is rather long and you want to focus on a particular
segment. The In (Red) and Out (Green) points will be displayed in the Clip Playback Status Bar. You can
use the navigation group to select the exact location of the In and Out Points if desired.

FRAME-BY-FRAME REVERSE / FORWARD
Allows you to move through the clip frame-by-frame in the reverse direction.

PLAY / PAUSE
Allows you to play and pause the clip.

PLAY ONCE / LOOP
Allows you to choose to play the clip one time or to loop the clip in the player. Loop is shown below.

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PLAYBACK DIRECTION
Allows you to play the clip forward or backwards. Reverse playback is shown.

ADDITIONAL CLIP/CAMERA INFORMATION
Will indicate if clip was recorded in HDRx and current camera power status as well as audio input
signals.

POWER
The power menu displays the current power status of all attached power sources as well as allows you
to shutdown the camera.
POWER STATUS
The power status is displayed for the BRAIN, SIDE HANDLE, REAR 1, REAR 2, REAR 3, and REAR 4.
Below is what is displayed when the camera is connected to DC power and a REDVOLT is installed into
the side handle with REDVOLT batteries installed in the optional QUAD BATTERY MODULE.

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SHUTDOWN
Power OFF controls are interlocked to prevent accidental powering down of the camera. For details on
the different ways to power down your RED DSMC Camera, refer to BASIC OPERATION > POWER
DOWN.
1. Enter the Secondary Menu using the touch screen, REDMOTE or Side Handle.
2. Select POWER.
3. Select SHUTDOWN.

4. The camera will immediately power down displaying SHUTTING DOWN. If a REDMOTE is
connected, the same message will display.

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APPENDIX A: UPGRADING CAMERA FIRMWARE
Your RED DSMC camera functionality may be upgraded by installing the latest firmware.
Camera firmware is identified by Version and SVN number, which will be displayed by the camera on the
LCD display when SYSTEM INFO is selected. A higher number reflects a later release.
Make a habit of frequently visiting www.RED.com/support to check for later versions of camera
firmware, Operations Guide updates, and post-production software.
Your REDMOTE also requires a firmware upgrade. Go to APPENDIX E: REDMOTE OPERATION >
MAINTENANCE > UPGRADING REDMOTE FIRMWARE.
VERIFY CURRENT CAMERA FIRMWARE
With the camera ON, select SECONDARY MENUS > SETTINGS > MAINTENANCE > SYSTEM INFO.

The cameras P.I.N. number and current firmware version will be displayed.

UPGRADE PROCEDURE
1. Download current firmware from http://www.RED.com/support.
2. Follow instructions in Epic_read_me file.
RESTORE DEFAULT FACTORY SETTINGS
To restore factory default settings, when the camera turned off, press and hold the power button until
the fan begins to operate at high speed. This takes approximately fifteen seconds.

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APPENDIX B: MANAGING DIGITAL MEDIA
MEDIA
REDMAG 1.8 SSD is available with capacities of 64GB, 128GB, 256GB or 512GB. Record duration is
dependent on resolution, quality and frame rate, but a 64GB SSD will typically provide 24 minutes of
24fps 5K RAW recording.
On MAC computers with REDCINE-X PRO installed, RED Watchdog will mount the SSD as READ-
ONLY by default and you cannot write the firmware to the SSD. RED Watchdog is identified by the RED
Coin icon located on the Right side of the Menu Bar. Right-click on the icon to enter RED Watchdog
settings and change to mount the drive as READ-WRITE to allow you to save the firmware to the SSD.
Refer to REDCINE-X PRO OPERATION GUIDE for complete RED Watchdog instructions and details.
IMPORTANT: After connecting REDMAG 1.8 SSD to the camera and BEFORE recording, you
should format the media using the camera (even if formatting was previously performed on a
computer). Go to ADANCED MENU > MEDIA > FORMAT to properly format media before
recording.
Note: When using a RED STATION in conjunction with a 512GG REDMAG, power must be
supplied to the RED SATAION. It will not function properly using a USB cable as the sole power
source.
FORMATTING MEDIA
Media must be formatted prior to using it for recording. Formatting is performed on camera, although
media may be erased on a Macintosh OS X personal computer, allowing the camera to just add the
necessary project profile and clip log data.
NOTE: Media formatted on-camera will use a name and root volume in the format:
Camera Letter + Reel Number + Month + Day + ** where ** is a two digit alphanumeric random number
generated by the camera for each file e.g. A001_0512A6.RDM
Clips recorded to the media follow similar naming conventions
A001_C001_0512A6_001.RDC and A001_C001_0512A6_H.mov etc.
IMPORTANT: Media must always be un-mounted prior to removal or disconnection from the
camera. This ensures power is removed from the digital media and any open data files are closed.
Failure to do so may result in lost data or corrupted files. Refer to REMOVE MEDIA FROM
CAMERA (UNMOUNT).
This procedure outlines the formatting of REDMAG 1.8 SSD media using the RED DSMC camera.
Formatting the SSD media will take about 10 seconds.
1. Insert SSD into camera.
- Insert the REDMAG 1.8 SSD with the RED logo facing outward (away from camera body). SSD
firmly into its slot, but without using excessive force to prevent damage.

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2. When SSD media is inserted into the camera, the camera will recognize if the media is unformatted:
- On LCD, EVF and external monitors, in the media section of the GUI, NONE will be displayed
twice (as opposed to when no media is inserted, the GUI displays NONE with three dashes
below ---).
- On REDMOTE, NONE will be displayed twice (as opposed to when no media is inserted, the GUI
displays NONE with three dashes below ---).
- On the Side Handle, NA will be displayed (same as if no media is present).
3. To format the media select SECONDARY MENUS > MEDIA > FORMAT MEDIA.

4. You will be prompted to set the media and select FORMAT.

- Viewfinder output(s) will display FORMATTING.

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NOTE: If when selecting FORMAT, the display indicates FORMAT FAILED, refer to MEDIA
ERRORS.
5. Once formatting is completed, the Viewfinder output(s) will display THE MAGAZINE WAS
SUCCESSFULLY FORMATTED THE DIGTAL MAGAZINE IS READY FOR IMMEDIATE USE.

MEDIA CAPACITY REMAINING STATUS
The Viewfinder output(s) will display the remaining media capacity in the MEDIA indicator (100% is
shown).

At 10%, remaining capacity the media status will turn yellow, at 5% it will turn red. At 2%, remaining the
camera will cease recording. This reserves a small amount of capacity for ancillary data to be written to
the media.
NOTE: When media is full, the Side SSD LED will flash Red.
EJECT MEDIA FROM CAMERA (UNMOUNT)
IMPORTANT: Media must always be Ejected (un-mounted) prior to removal or disconnection from
the camera. This ensures power is removed from the digital media and any open data files are
closed. Failure to do so may result in lost data or corrupted files.
Removing an SSD without first un-mounting it will not physically damage the media, however it does
increase the risk of file corruption, so its good operational practice to un-mount the media if possible
before removing or disconnecting.
IMPORTANT: Unmounting the digital media takes a few seconds, protects the integrity of your
recorded data and helps clips mount instantly to your workstation once in post-production, so its
a recommended habit to develop. If you do not un-mount the media the camera will offer a
warning your files may not be damaged, but you will have been warned!
NOTE: The camera will respond to physical removal of the media without un-mounting and
display MEDIA REMOVED PRIOR TO UNMOUNT DATA INTEGRITY RISK.

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USING REDMOTE / TOUCHSCREEN LCD
1. Go to SECONDARY MENUS > MEDIA.

2. Select EJECT MEDIA.

3. When media is ejected, Viewfinder output(s) will display MEDIA EJECTED SUCCESSFULLY.

4. Media can now be removed from the camera.

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USING SIDE HANDLE
1. By default, the lower of the three (3) SYSTEM KEYS is set to Eject Media when pressed.


USING SIDE SSD
1. Press both User Keys 1 and 2 at the same time to eject REDMAG 1.8 SSD Media.

COPYING MEDIA
For use when media is connected directly to your computer. When copying media, it is recommended
that you drag the complete .RDM folder on the digital magazine to the archive storage media. This
copies all the media and metadata files. You will not need to copy the log, magazine profile, or presets
files, but if you do so, it will do no harm.

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ERASING MEDIA
NOTE: If the media was formatted using SECURE FORMAT, you cannot erase the media using an
external source. Erasing of the media must be performed by formatting on the camera.
MACINTOSH OS X
1. Connect the REDMAG 1.8 SSD via RED STATION REDMAG 1.8".
2. Open the Disk Utility.
3. Carefully choose the drive from the list on the left.
4. Select the Erase tab.
5. Choose MS-DOS (FAT) as the Volume Format. You can add a Name if desired, however the camera
will overwrite this.
IMPORTANT: Before performing the next step, double-check that this is the correct SSD that you
wish to erase DATA FROM.
6. Select Erase. When the pop up window appears click on the Erase button.
7. When the media is erased, drag its icon to the trashcan and physically disconnect it.
8. The media will need to be formatting by the camera before use. Refer to FORMATTING MEDIA.
WINDOWS
1. Connect the REDMAG 1.8 SSD via RED STATION REDMAG 1.8".
2. Open Windows Explorer (go to my computer icon, right click and select EXPLORE).
3. Double-click on the drive you wish to erase files from.
4. Select all the files on the drive you wish to erase.
IMPORTANT: Before performing the next step, double-check that this is the correct SSD that you
wish to erase DATA FROM.
5. Press the DELETE key on the keyboard, select FILE > DELETE or right-click on selected file and
choose DELETE. When the pop up window appears click YES.
6. The media will need to be formatting by the camera before use. Refer to FORMATTING MEDIA.

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APPENDIX C: INPUT / OUTPUT CONNECTORS
CAMERA BRAIN FRONT

A MIC-1 3.5mm Audio Jack B MIC-2 3.5mm Audio Jack
Camera Brain Connectors - Front

B
A

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MIC-1, MIC-2 (MICROPHONE AUDIO)
Two 3.5mm phone jacks on the front of the brain support two independent channels of balanced or
unbalanced microphone level analog audio inputs.

Microphone Input Connector
PIN SIGNAL DESCRIPTION DIRECTION
A (TIP) IN + Mic Input (+48V Phantom Power) In
B (RING) IN - Mic Input (+48V Phantom Power) In
C (SLEEVE) GND Camera ground --

Microphone Level analog audio input signals are routed via a high quality pre-amplifier and soft limiter,
whose Gain may be controlled using the Input Level control to achieve the desired audio reference /
recording level. Microphone inputs support +48V @ 10mA Phantom Power as a user selectable option. If
To assist with reference level setup, the camera provides a color-coded Peak Level Meter in the
Graphical User Interface, with witness marks that indicate 0dBu (-20dbFS) and 0Vu (- 16dBFS) levels.
Peak Level Meter range is 36dBu to +20dBu (-54dBFS to 0dBFS) and provides input clip indication.
NOTE: A pre-fabricated XLR to TRS interface cable, Part Number 790-0229, is available from RED
Digital Cinema.

A
B C

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CAMERA BRAIN REAR

A HD-SDI
B Headphone
C SYNC (Video Sync)
D CTRL (RS232 Control)
E GIG-E (Ethernet)
F DC IN (Power Input)
G HDMI
Camera Brain Connectors - Rear

A
B
C
D
E
F
G

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HD-SDI
A standard 75 Ohm BNC connector provides a broadcast specification high definition video output.

Center HD-SDI SMPTE-292M HD-SDI Out
Shield/Screen GROUND Camera ground --
HD-SDI Output
The HD-SDI output provides a 720p progressive scan video feed operating at 50.00 or 59.94 Hz or a
1080p 10-bit 4:2:2 progressive scan video feed operating at 23.98, 24.00, 25.00 or 29.97 Hz when in
1.5GHz HD-SDI mode, or a 1080p 10-bit 4:2:2 progressive scan video feed operating at a 50.00 or 59.94
Hz when in 3GHz HD-SDI mode.
The HD-SDI output may be specified as a PROGRAM output (clean feed video) or as a PREVIEW output
(includes SurroundView look around, Clip Name, Timecode and Safe Action / Safe Title frame guides).
In addition to video, the HD-SDI output also provides two channels of embedded audio, Time of Day
and Edge timecode, record Tally flag and Clip Name information as SMPTE RP-188 VITC2 HANC
metadata.
NOTE: Default setting is PROGRAM.
NOTE: HD-SDI video output is Progressive Scan; it does not support 1080i or 1080PsF modes.

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HEADPHONE
A 3.5mm stereo jack provides two channels of adjustable level analog audio for monitor headphones.

Headphone Output Connector
A (TIP) LEFT Left channel audio Out
B (RING) RIGHT Right channel audio Out
C (SLEEVE) GND Camera ground --

The cameras four audio channels may be monitored in pairs: either 1L - 2R or 3L - 4 R or as a quad mix
of 1+3L 2+4R based on the MIX parameter. Default is 1L-2R.
Output volume may be adjusted as follows.
Volume: (master volume) Adjusts headphone volume equally for left and right outputs.
Range is -18dB to 0dB in 1dB steps. Default is -9dB.
NOTE: for maximum output signal quality, only use high impedance headphones.
SYNC (VIDEO SYNC)
A 4-pin LEMO connector supports shutter synchronization, GPI, timecode and genlock input signals.
The shutter Sync input signal acts as an immediate response hardware trigger to commence a scan.
This is useful for motion control and other applications where the camera is driven by a master timing
device. When using SYNC as the camera shutter timing reference, fine shutter start time timing
(SHUTTER PHASE) is disabled; make any desired timing adjustments at the external SYNC generator.
Alternatively, this input may be used as a GPI (General Purpose Input) trigger, whose function is
programmed in the USER KEYS menu. Default function for the GPI trigger is Record Start / Stop.
The SMPTE timecode input provides a frame accurate time stamp for each frame of recorded video.
External TC must be chosen in the Project > Timecode menu. When SMPTE timecode is detected it will
align the internal TC value to the external TC signal at every :00 frame crossing of the external TC signal.
The Video Genlock input may be used as a vertical interval reference signal for the sensor and HD-SDI
outputs when precise synchronization is required between cameras, such as for 3D and live broadcasts.
A
B C

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Note: When GENLOCK is selected as the sensor shutter reference, shutter start timing (SHUTTER
PHASE) may still be adjusted. HD-SDI monitor outputs will automatically sync to the external
GENLOCK signal as soon as it is detected, there is no need to enable this function. Sensor shutter
sync to GENLOCK is only supported with HD-SDI.

View into camera SYNC (Video Sync) Interface connector
Mating Connector: FGG.00.304.CLAD27Z
PIN SIGNAL DESCRIPTION
1 GROUND Common Ground
2 SS/GPI Shutter Sync / GPI Trigger Input
3 TIMECODE SMPTE unbalanced timecode Input
4 GENLOCK RS170A Tri-Level Sync Input

NOTE: The Camera Brains Shutter Sync / GPI Trigger uses a 3.3 V Schmitt trigger (5 V tolerant). It
is not a switch closure circuit. Therefore, it requires current supplied by the trigger source. Both
edges of the input signal may be used as a trigger.
For example, when GPI trigger is used for Record Start / Stop.
Start Record: On Ground to 3.3 V transition
During Record: Hold at 3.3 V
Stop Record: On 3.3 V to Ground transition
During Stop: Hold at Ground

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TRIGGER BUTTON CIRCUIT

NOTE: A pre-fabricated SYNC interface cable is available from RED Digital Cinema.
P/N 790-0154 Video Sync Camera to 3 BNC 3 ft. (1m)
White BNC: Shutter Sync / GPI
Yellow BNC: SMPTE Timecode
Green BNC: RS170A Genlock

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CTRL (RS232 CONTROL)
A 4-pin LEMO connector supports RS232 remote control for 3D camera communication, and third party
metadata ingest applications.
The shutter Sync Output signal acts as an immediate response hardware tally of a scan. This is useful
for 3D or motion control applications where a slave camera or lighting device needs to be synchronized
to a master camera.
Alternatively, this output pin may be used as a GPO (General Purpose Output) tally, whose function is
programmed in the USER KEYS menu. Default function for the General Purpose Output is Record Tally.

View into camera CTRL (RS232 Control) Interface connector
Mating Connector: LEMO FGG.00.304.CLAD27Z
1 GROUND Common Ground
2 232 RX RS232 RX
3 SS/GPO Shutter Sync / GPO Output
4 232 TX RS232 TX
NOTE: When active, the GPO tally presents 3.3V @ 0.04 Amps maximum between pins 1 and 3.
When used as Sync Out, the rising edge of the pulse indicates start of exposure. When used as a
Tally, the rising edge of the pulse indicates start of record, falling edge represents end of record.
NOTE: A pre-fabricated CTRL interface cable is available from RED Digital Cinema.
P/N 790-0152 RS232 Camera to DB-9 3 ft. (1m)
DB-9 Pin 1: Shutter Sync / GPO
DB-9 Pin 2: RS232 Tx
DB-9 Pin 3: RS232 Rx
DB-9 Pin 4: Ground

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GIG-E (ETHERNET)
A 9-pin LEMO connector provides a Gigabit Ethernet port for remote camera setup, master / slave
camera communication and external metadata ingest.

View into Ethernet Interface connector
Mating connector: FGG.0B.309.CLAD32Z
1 B1_DC + Data Pair C+ --
2 B1_DC - Data Pair C- --
3 B1_DD+ Data Pair D+ --
4 B1_DD - Data Pair D- --
5 B1_DA- Data Pair A- --
6 B1_DA+ Data Pair A+ --
7 B1_DB+ Data Pair B+ --
8 B1_DB- Data Pair B- --
9 - Do Not Connect --

NOTE: Two pre-fabricated Ethernet interface cables are available from RED Digital Cinema.
P/N 790-0163 Ethernet Camera to Camera 3 ft. (1m)
P/N 790-0159 Ethernet Camera to RJ45 3 ft. (1m)

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DC IN (POWER INPUT)
The 6-pin LEMO connector accepts DC input power between +11.5 V and +17 V DC. Power
conditioning provides protection against reverse-polarity connection, ESD, under and over voltage, and
over current.

View into camera DC IN Power Input connector
Mating Connector: LEMO FGJ.1B.306.CWLD72Z
1
+VBATT Power input, +11.5 to +17 V DC
2
3 SCL-BATT Serial Battery Bus Clock
4
GROUND Power Return (Camera Ground)
5
6 SCA-BATT Serial Battery Bus Data

WARNING: It is very important that both pairs of +VBATT and GROUND pins are wired up. DO
NOT fabricate power cables with just one each of +VBATT and GROUND pins wired, as this may
cause damage to the cameras power supply; this is not covered by Warranty.
NOTE: Two pre-fabricated DC Power input cables are available from RED Digital Cinema.
P/N 790-0138 DC Power REDBRICK
QUICKPLATE to Camera 18 in. (0.5m)

P/N 790-0164 DC Power XLR to Camera 10 ft. (3m)

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HDMI OUT
The HDMI output supports an HDTV and PC monitor compatible 10-bit 4:2:2 progressive scan video
signal (with embedded audio) at 720p and 1080p resolution.
The HDMI output may be specified as a PROGRAM output (clean feed video) or as a PREVIEW output
(including SurroundView look around, Clip Name, Timecode and Safe Action / Safe Title frame guides).
In addition to video data, the HDMI output also provides 4 channels of embedded audio.
NOTE: Default setting is PREVIEW.
NOTE: HDMI video output is Progressive Scan; it does not support 1080i or 1080PsF modes.

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SIDE SSD MODULE

A SSD Slot
B VIEWFINDER (LCD/EVF)
Side SSD Module
The Side SSD Module mounts to the left side of the camera Brain. On the rear face of this module is a
slot for inserting a REDMAG 1.8SSD digital Magazine. Do not attempt to insert any other media type, or
any foreign objects into this slot, as damage to the Side SSD Module and / or the camera Brain may
occur.
The VIEWFINDER output Module on the front face of the Side SSD Module provides digital video,
communications and power interconnection between the camera and a RED EVF or RED LCD digital
display. Due to the requirement for absolute data integrity this requires a custom cable manufactured by
RED, the pin-out of this interface is not published.
NOTE: Pre-fabricated EVF / LCD cables are available from RED Digital Cinema.
P/N 790-0157 EVF / LCD Cable Right Angle to Right Angle 6 in. (0.15m)
P/N 790-0153 EVF / LCD Cable Right Angle to Straight 18 in. (0.5m)

A
B
FRONT REAR

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REDMOTE
This section describes the physical connectors on the REDMOTE.

A Mini USB B Camera Interface
REDMOTE Connections
The REDMOTE interface connector allows communication between the REDMOTE and the camera
Brain or any expansion module. Make sure these contacts are kept clean and free of any contaminants
that may interfere with a reliable electrical contact.

A
B

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APPENDIX D: AUDIO SUBSYSTEM INFORMATION
AUDIO FORMAT
The audio format is always either 2 or 4 channels of 24-bit audio data recorded at 48kHz. The audio data
is embedded in the R3D file and can be exported from REDCINE-X into separate audio files.
CHANNEL SETUP

SOURCE SELECTION

Audio is always recoded at channel pairs. Each of the two channel pairs can be assigned to one of the
following sources (Or none of them):
Camera Analog Microphone Input
Pro I/O Analog Microphone/Line In Input
Pro I/O AES 1/2 or AES 3/4 Digital Input

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CHANNEL MODES

The analog sources can be set to different modes to match the incoming audio signals. On the Camera
Inputs the following modes are available:
BALANCED MICROPHONE
Balanced microphone input. Usually used with microphones that provide XLR connectors and have an
internal battery.
UNBALANCED MICROPHONE
Unbalanced microphone input with 3.3V bias. This type of input is usually provided by unpowered
microphones with 3.5 mm TRS plug.
BALANCED MICROPHONE WITH 48V PHANTOM POWER
Used with balanced XLR-connected microphones that accept 48V phantom power.
Note: Phantom Power is not available on non-upgraded Epic-Ms and early Epic-X. If your camera
does not allow you to select phantom Power please contact your Bomb Squad representative for
upgrade information.

On the PRO I/O the following additional modes are available:
LINE IN 0 DBU
Fixed input gain with if limiter is enabled.
LINE IN 0 VU
Same gain as 0dBu but different compression/limiter settings if enabled.
(If no limiter is enabled Line In 0dBu and Line In 0 VU behave the same.)

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LIMITER
A limiter can be added to the analog input signal chain that adds about 12dB dynamic headroom to
avoid clipping on signal spikes. While it is best practice to use an external audio mixer to control the
signal strength the limiter can be used in more dynamic environments where an external mixer is not
practical to reduce the risk of clipped audio samples.
Note: The limiter is not available on non-upgraded Epic-Ms and early Epic-X. Please contact your
Bomb Squad representative for details how to upgrade your camera.
Channel 1/2 and channel 3/4 gain control can be linked together for easier use with external mixers and
stereo-microphones.
AUDIO RECORDING
Audio Recording is globally enabled in the Gain In tab in the Audio Control Dialog. For successful
audio recording the following parameters need to be set correctly:
At least one channel pair has a currently present source selected
Input gain is set correctly so that the Peak Meter show valid data
Audio Recording is Enabled in the Gain In Dialog
Note: Audio will not be recorded in Varispeed or MoCo mode. However, audio will be passed through to
the headphones.

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PEAK METER
The peak meters always show the incoming audio signal, no matter if the channel is recorded or not as
long as a source is selected.
Actively recorded channels are drawn with a lighter outline and the channel indicator left of the peak
meter will be green.
The peak meters are updated 12 times per second with the maximum signal from the last 1/12 of a
second period. In case the input signal exceeds 19dBu the whole bar will be filled with red.

The total range of the peak meter is -36 dB to 20dB. (Values below 0 dB are shown with half resolution)
For reference the following markers are supplied on the peak meter: Solid marker at 0 dB, Dashed
marker at 4,10,14,18 dB.

Channel 1/2 enabled for recording, channel 1 around 5 dB, channel 2 clipping.

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DATA PATH
The following diagram outlines the data flow in Preview. The only difference in playback is that the data
comes from the R3D file and the input channel selection is disabled.

HD-SDI/HDMI EMBEDDED AUDIO
HDMI/HD-SDI audio output is limited to the first two channels and the channels will be the same
between HDMI and HD-SDI.

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INPUT CONTROL
The analog gain for the microphone input can be controlled between 15-57 dB. The line input on the Pro
I/O the input gain is fixed.

OUTPUT CONTROL
The headphone output volume can be set individually for each channel. (Or can be linked together as the
input gain controls)
Additionally, the output of each channel may be muted individually.
The signal strength of the line out cannot be controlled and is fixed at -15 dB gain. Line input will pass
without gain through the system.

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DIGITAL MIXER
The digital mixer allows routing each of the 4 channels either to the left, middle or right independently for
either the stereo headphone or Pro I/O outputs.
Additionally each channel can be enabled/disabled independently in the output mix.

As this is a digital mixer each output is normalized to not exceed the output signal range. This means
that if for example 1 channel is passed through to an output and a second channel is mixed into the
same output the level of the first channel will drop to half.

AUDIO DURING PLAYBACK
During playback the same audio controls for the volume out and the headphone and Pro I/O mixer are
available. All channels recorded will be played back.
Audio output will be unmuted automatically when entering playback mode.

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APPENDIX E: DEFAULT KEY FUNCTIONS

CAMERA BRAIN
KEY FUNCTION KEY FUNCTION
Record Half Press Key Disabled- Record Half Release -Key Disabled-
Record Full Press Record: Toggle
SIDE HANDLE
User A Press AF Mode: Cycle User B Release -Key Disabled-
User B Press WB: Auto Calc User C Release -Key Disabled-
User C Press Magnify: Toggle User D Release -Key Disabled-
User D Press Exposure Check: Toggle User 1 Release -Key Disabled-
User 1 Press Slot: Set ISO User 2 Release -Key Disabled-
User 2 Press Slot: Set Aperture User 3 Release -Key Disabled-
User 3 Press Slot: Set Shutter User 4 Release -Key Disabled-
User 4 Press Slot: Set Color Temp User 5 Release -Key Disabled-
User 5 Press Exposure Check: Toggle User 6 Release -Key Disabled-
User 6 Press -Key Disabled- User 7 Release -Key Disabled-
User 7 Press Eject Media User 1+4 Release -Key Disabled-
User 1+4 Press SH: Toggle Key Lock Record Half Release -Key Disabled-
Still Select Focus Mode: Still Record Full Release -Key Disabled-
Movie Select Focus Mode: Motion Backlight Release -Key Disabled-
Record Half Press AF: Start Nav Menu Release -Key Disabled-
Record Full Press Record: Toggle Nav North Release -Key Disabled-
Backlight Press SH: Toggle Backlight Nav South Release -Key Disabled-
Nav Menu Press Navigation: Menu Nav East Release -Key Disabled-
Nav North Press Navigation: Up Nav West Release -Key Disabled-
Nav South Press Navigation: Down Nav Enter Release -Key Disabled-
Nav West Press Navigation: Right Rocker + Release -Key Disabled-
Nav East Press Navigation: Left Rocker - Release -Key Disabled-
Nav Enter Press Navigation: Select Rotary Front CW Navigation: CW
Rocker + Press Iris: Open Rotary Jog CW Navigation: CW
Rocker - Press Iris: Close Rotary Front CCW Navigation: CCW
User A Release -Key Disabled- Rotary Jog CCW Navigation: CCW

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SIDE SSD MODULE
User 1+2 Press Eject Media Record Half Release -Key Disabled-
Record Half Press AF: Start Record Full Release -Key Disabled-
Record Full Press Record: Toggle
REDMOTE
User A Press AF Mode: Cycle Nav Enter Press Navigation: Select
User B Press RAW Check: Toggle Rocker + Press Iris: Open
User C Press Magnify: Toggle Rocker - Press Iris: Close
User D Press Exposure Check: Toggle Rotary CW Navigation: CW
Still Select Focus Mode: Still Rotary CCW Navigation: CCW
Movie Select Focus Mode: Motion User A Release -Key Disabled-
Record Half Press AF: Start User B Release -Key Disabled-
Record Full Press Record: Toggle User C Release -Key Disabled-
Nav Menu Press Navigation: Menu User D Release -Key Disabled-
Nav North Press Navigation: Up Record Half Release -Key Disabled-
Nav South Press Navigation: Down Record Full Release -Key Disabled-
Nav East Press Navigation: Right Rocker + Release -Key Disabled-
Nav West Press Navigation: Left Rocker - Release -Key Disabled-
DISPLAY (BRAIN)
LCD User 1 Press Magnify: Toggle LCD Down Arrow Press Decr. LCD Brightness
LCD User 2 Press Exposure Check: Toggle EVF User 1 Press Magnify: Toggle
LCD Up Arrow Press Incr. LCD Brightness EVF User 2 Press Exposure Check: Toggle

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APPENDIX F: REDMOTE OPERATION
CONTROL, CONNECTORS AND DISPLAY
This section describes the REDMOTE physical controls, connectors and color LCD display.
CONTROLS

REDMOTE Controls
A Stills/Motion Switch F User Function Keys A-D K Menu Buttons 4-8
B Release Latch - Left G MENU Button L Power/Lock Switch
C Record Status LED H Menu Buttons 1-3 M Release Latch Right
D Wireless Status LED I Navigation Group N USB External Power Port
E Zoom Rocker Switch J Focus / Record Button
STILL / MOTION SWITCH
The STILLS/MOTION toggle switch is used to switch between STILLS operation (DOWN) and MOTION
operation (UP). When the toggle switch is set to the MOTION position, all camera settings and defaults
are movie specific. When the toggle switch is set to the STILLS position, all camera settings and defaults
are stills photography specific.
Note: In Version 3.x software the STILLS/MOTION switch is disabled. Default mode is MOTION.
C
D
A
B
E
G
F
H
J
I
N
M
K
L

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LEDS
There are two status LED indicators located above the rockers switch on the left side of the LCD display.

The upper LED is used to signal camera readiness and camera record status.
Red Camera Startup / Camera Recording.

The lower LED is used to signal camera readiness and REDMOTE communication status to the camera.
Green Camera Ready / REDMOTE connected.
Blinking Green Searching / Establishing communication
ROCKER SWITCH
The function of the ROCKER SWITCH may be assigned by the operator to one of a number of
operational controls. Refer to SECONDARY MENUS > SETTINGS > SETUP > KEYS / SHORTCUTS.
USER FUNCTION KEYS
The function of each User Function Key may be assigned by the operator to one of a number of
operational controls. Refer to SECONDARY MENUS > SETTINGS > SETUP > KEYS / SHORTCUTS.
Default settings for User Function Keys A-D are as follows:
User Key A Toggles Auto Focus
User Key B Toggles View RAW
User Key C Toggles Focus Check (1:1 Magnify)
User Key D Toggles Sensor RAW Exposure Check
MENU BUTTON
Below and to the left of the User Keys is the MENU button, press to switch between primary level and
secondary level Camera menus. When in Camera menus or REDMOTE menus, press once to exit
menus.
SOFT MENU BUTTONS 1-3
Below the LCD are three Soft Menu Buttons, whose specific functions are indicated by the LCD screen.
For complete information refer to OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS 1-3.
NAVIGATION GROUP
The Navigation Group allows navigation of the camera menus and adjustment of selected parameters.

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REDMOTE Navigation Group
The Navigation Group has three separate operational capabilities.
SCROLL WHEEL
The Scroll Wheel allows the operator to select and adjust the values of selected camera parameters.
DIRECTION KEYS
The Direction Keys allows Left / Right / Up / Down navigation thru the camera menus to select a desired
parameter for adjustment.
ENTER BUTTON
The Enter button allows confirmation of a parameter adjustment or operational mode selection.
FOCUS AND RECORD BUTTON
Below the Navigation Group is the focus and record button. A half press initiates Auto Focus; a full press
initiates Stills capture or starts /stops a Movie recording.
When recording, the upper LED will illuminate Red and the Timecode readout on the REDMOTE LCD will
also display in red colored text.

Note: In Version 3.x software the frame count of the Timecode is not displayed. This is normal and does
not indicate an error.
C
B
A

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To the right of the LCD are five Soft Menu Buttons. These buttons select a variety of camera status
pages. For complete information refer to OPERATION > REDMOTE MENUS > SOFT MENU BUTTONS
4-8.
Note: In Version 3.x software, Soft Menu Buttons 7 and 8 are undefined.
POWER / KEY LOCK SWITCH
If the REDMOTE is powered OFF, moving and holding the switch in the down (POWER) direction for 2
seconds will power UP the REDMOTE and if the REDMOTE is powered ON, moving and holding the
switch in the down (POWER) direction for 5 seconds will power DOWN the REDMOTE.
Moving the switch to the up (LOCK) position will lockout all REDMOTE buttons to prevent unintentional
operation. When in the LOCK position, KEYS LOCKED will be displayed in red text above the SOFT
MENU BUTTONS 1-3 on the REDMOTE LCD display.
USB POWER PORT
The USB port may be used to charge the REDMOTE internal battery from a suitable USB power source.
Refer to CHARGING / BATTERY LIFE > CHARGING USING USB CONNECTOR for complete
information.
OPERATION
DOCKING AND UNDOCKING
This section describes how to physically dock / undock the REDMOTE to / from the camera Brain or the
back of the rearmost expansion module.
DOCKING
1. Place the female V-Mount of the REDMOTE over the male V-Mount of the camera Brian or rearmost
module.

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Note: For illustration only: rear surface of REDMOTE should face towards camera

2. Slide the REDMOTE down until a click is heard which indicates the REDMOTE is securely attached.
UNDOCKING
1. Depress the two latch release buttons located on each side of the REDMOTE.
2. Slide the REDMOTE upward to release from the V-Mount of the camera Brain / rear most module.
3. Remove the REDMOTE.

POWER UP / DOWN
Located on the upper right side of the REDMOTE is the Power / Key Lock Switch (refer to CONTROLS).

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POWER UP
CONNECTED TO CAMERA
If the REDMOTE is physically attached to a camera, when the camera is powered up the REDMOTE will
automatically power up along with the camera.
NOT CONNECTED TO CAMERA
To manually power up the REDMOTE, slide and hold the Power / Key Lock Switch in the down direction
for 2 seconds, then release.
POWER DOWN
USING CAMERA
When REDMOTE is connected to the camera and the camera is powered down, the REDMOTE will also
power down. When disconnected from the camera, the REDMOTE will not power down with the camera.
USING REDMOTE
To power down REDMOTE, slide and hold the Power / Key Lock Switch in the down direction for 5
seconds.
Or slide and hold the Power / Key Lock Switch in the down direction momentarily, then release. A screen
will display with options to power down the REDMOTE, the Camera, or REDMOTE and Camera
together. Select the desired option and press the ENTER key in the REDMOTE Navigation Group.

NOTE: Wireless mode shown. When docked to camera, SHUTDOWN CAMERA is not displayed.

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RECORDING
To record, press the Red REC (record) button. If media is connected and properly formatted, the
upper LED will illuminate Red and the Timecode value displayed in the LCD will change to Red text.

To stop recording, press the REC button a second time. After recording to media is completed, the
upper LED will go out and the Timecode value displayed in the LCD will change back to White text.

Note: If media is NOT connected when record is requested, the REDMOTE LCD and camera
VIEWFINDER (MENUS) output will indicate NO MEDIA ATTACHED.

ACCESSING CAMERA CONTROLS / SETTINGS
The Navigation Group is used to navigate through camera menus. Refer to CAMERA OPERATIONAL
CONTROLS > REDMOTE > NAVIGATION GROUP. The camera settings and status are displayed on the
REDMOTE LCD. Refer to BASIC OPERATION > GRAPHICAL USER INTERFACE AND NAVIGATION >
REDMOTE.

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CHANGING CAMERA SETTINGS
USING CAMERA LCD / EXTERNAL MONITOR AS REFERENCE
To adjust a parameter value displayed on the cameras Upper Status Group, first note the red colored
bar (located under 24fps in this example), indicating the currently active parameter for instant
adjustment.

Use the NAVIGATION GROUP directional pad to move the cursor to a different parameter if desired,
then press the ENTER key to select that parameter and use the Scroll Wheel to adjust that parameters
value. To confirm the change in parameter value and to exit the adjustment menu, press the ENTER
button.
To access the cameras menus, press the MENU button at the lower left. The MENU displays on the
EVF, LCD or external monitors if the LCD and/or EVF are not connected disconnected.

Use the NAV GROUP to make changes to the cameras settings. Use the scroll wheel and directional
pad to move the cursor to navigate and make changes to the desired settings. When a desired setting
change is made, press the ENTER button or the directional pad UP arrow to exit from that setting.
Exiting Menus to Main Screen
To EXIT from the Secondary Menus and return to the main screen:
Press the MENU button until the main screen is displayed.
USING REDMOTE LCD STAND-ALONE
The LOCAL function of the REDMOTE allows you to adjust the camera settings from the REDMOTE
while observing the parameters directly on the REDMOTE LCD as opposed to on the camera LCD or an
external monitor. For complete details refer to REDMOTE MENUS > SOFT MENU BUTTONS 1-3 > 2
REMOTE > LOCAL.

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ADVANCED OPERATION: REDMOTE MENUS
Located below the main LCD display are three Soft Menu Buttons, who access advanced function
menus identified by text in the LCD directly above the corresponding button. These menus control
wireless connection (CONNECT), camera or local menus (REMOTE/LOCAL) and system setup (SETUP).
WIRELESS CONNECT: SOFT MENU BUTTON 1
Note: This Button is hidden if REDMOTE is attached to the camera or rear-most camera module.
Note: If a REDMOTE has previously been successfully paired with a camera, and the REDMOTE
has scanned the wireless network and found that camera, the following operation can be
bypassed as the REDMOTE will auto scan and connect to that camera each time it is powered ON
and undocked.
CONNECT REDMOTE TO A PAIRED CAMERA
NOTE: The following procedure assumes the camera has already been paired and named
DEFAULT under the cameras SETTINGS > SETUP >REDMOTE and COMMUNICATION menus.

1. Press CONNECT to initiate a scan by the REDMOTE for available paired cameras in wireless range.
2. If the REDMOTE fails to find a camera it has been paired with the following screen will be displayed.
Select RESCAN and press the ENTER button in the Navigation Group to force a second scan for
paired cameras in wireless range. A wireless scan typically takes 20-30 seconds.

3. When REDMOTE finds a camera or cameras it has been paired with in wireless range, the name of
the available camera or cameras will be displayed - for example a single camera named DEFAULT.

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4. Select the desired camera to connect to for REDMOTE wireless operation and press the ENTER
button in the Navigation Group. The REDMOTE will connect to the selected camera.

5. Once connected, the REDMOTE will display the key operating parameters of the selected camera.
The wireless signal strength will be shown in the lower Right corner of the REDMOTE screen.

The camera VIEWFINDER monitor output will confirm REDMOTE is wireless connection by displaying
RM and a signal strength icon in Green on the Lower Status Group.

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Note: Once this procedure has occurred once, the REDMOTE will automatically search
for the camera each time it is undocked, until the paired camera selection is changed.
CANCEL
If you wish to exit the CONNECT menu at any time press CANCEL.

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DISCONNECT
To stop communicating wirelessly with the camera, select Soft Menu Button 1 Connect, then select
DISCONNECT and press the ENTER key in the Navigation Group.

RECONNECTING IF SIGNAL IS LOST
On loss of wireless communication REDMOTE will scan for the camera it was last paired with.

If the REDMOTE is unable to re-connect after 30 seconds, it will enter the manual SCAN menu, follow
the procedure outlined about to scan and identify camera(s) that you wish to connect to.

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OPERATING WITH MULTIPLE CAMERAS FROM A REDMOTE
To control more than one camera from a single REDMOTE, first pair the REDMOTE with each camera.
After pairing REDMOTE to the desired cameras, press Soft Menu Button 1: CONNECT. Available
cameras will be listed.

Select the camera you wish to control and press the ENTER button. When you want to switch to a
different camera, press Soft Menu Button 1: CONNECT again to list available cameras and re-select.

REDMOTE OR LOCAL MENUS: SOFT MENU BUTTON 2
When selected allows the user to toggle the REDMOTE between REMOTE and LOCAL menus.

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REMOTE
Allows the user to adjust camera settings from REDMOTE, by navigating the camera menus appearing
on the VIEWFINDER output of the camera, with summary data only appearing on the REDMOTE LCD

LOCAL
Allows the user to adjust camera settings from REDMOTE, by navigating camera menus appearing on
the REDMOTE LCD, with summary data only appearing on the VIEWFINDER output of the camera.

CUSTOMIZING LOCAL MENUS.
When operating in LOCAL mode, REDMOTE provides the user the option to configure which parameters
to display in each of the parameter status windows. You can assign the parameters to one of the 5
pages of information available under Soft Menu Buttons 4-8.
To customize parameters:
1. Ensure camera is ON and wirelessly connected to REDMOTE.
2. If Soft Menu Button 2 reports as REMOTE, press it once so it reports LOCAL.
3. Select the Soft Menu Button page you would like to set the parameter on from the right hand side of
the LCD. Refer to SOFT MENU BUTTONS 4-8.
4. Use the directional arrows on the Navigational Control to move the Red cursor to the desired
location within that page to place the parameter.
5. Now press SETUP: Soft Menu Button 3.

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6. Select Setup Slot and press the ENTER button.

7. A new Setup window will appear displaying available parameters to display.

8. Select the desired parameter and press the ENTER button.

9. You may now control this parameter directly from the REDMOTE.
REDMOTE SETUP: SOFT MENU BUTTON 3
When pressed, SETUP provides the option of forcing the REDLINK wireless link ON or OFF and
selecting the following REDMOTE Setup menu.

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Adjustable parameters include LCD screen brightness; beep speaker Volume and Auto Shutdown time.
In the lower section of the display is the MAC address and the current firmware build of the REDMOTE
Brightness
The BRIGHTNESS control adjusts the LCD backlight intensity. Set value to maximum for daylight
visibility, set value lower for nighttime operation or for maximum battery run time when operating in
wireless mode.
Default value is Maximum.
Volume
The VOLUME control adjusts the loudness of the beep speaker. As you adjust this value the REDMOTE
will beep the speaker to give an audible confirmation of the selected volume. Default value is Minimum.
Auto Shutdown
The AUTO SHUTDOWN control adjusts the amount of time a REDMOTE will continue to operate when in
the wireless mode after no detected activity (i.e. no button presses are detected) before powering down.
Default value is OFF (REDMOTE will operate continuously until manually powered down.)
DISPLAY LAYOUT: SOFT MENU BUTTONS 4-8
To the right of the LCD are five Soft Menu buttons 4-8. These buttons select between a variety of
camera status page layouts.
Note: In Version 3.x software, buttons 7 and 8 are undefined.

Menu Button 4 Menu Button 5 Menu Button 6 Menu Button 7 & 8

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MAINTENANCE
INTERNAL BATTERY
CHARGE STATUS
An icon shows the charge status of the REDMOTE battery in the lower right corner of the LCD.

When REDMOTE is operating in wireless mode, the icon indicates current charge capacity. When
satisfactory the icon is displayed in Green. When battery charge becomes marginal, the icon turns
Yellow. When battery charge is critically low, and wireless communication is at risk of being lost the icon
turns Red. The REDMOTE should be re-attached to the camera or rearmost module, or be attached to a
suitable USB power source, to recharge the battery before re-attempting wireless operation.
When attached to the camera or rearmost camera module, or external USB power source, this icon will
either display solid green, indicating fully charged, or blink, indicating the battery is being charged by the
camera or external USB power source.
BATTERY LIFE
When using the REDMOTE in wireless configuration, the battery will last approximately 8 hours before
charging is necessary.
NOTE: When not using the REDMOTE, for maximum battery storage life, use the Power / Lock
Switch to power down the REDMOTE completely by pressing down in the power off position and
using the displayed menu to shut down the REDMOTE and/or the REDMOTE and camera. Refer
to POWER UP / DOWN > POWER DOWN. If the Power / Lock Switch is pressed down in the power
off position and held until the REDMOTE powers down, the battery storage life will be reduced
greatly as there will be a slight power draw on the REDMOTE when shut down using this
procedure.

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CHARGING
CHARGE TIME
A fully discharged REDMOTE battery will be fully charged in approximately 6 hours.
USING CAMERA
While connected to the camera, the REDMOTE will automatically recharge its internal battery. Charge
status is indicated by the Green Battery Icon at the top-right of the REDMOTE LCD display screen. A
fully discharged REDMOTE battery will be re-charged in approximately 6 hours if connected to a
powered camera or a USB based power source such as laptop P.C.
USING USB CONNECTOR
The REDMOTE can be charged by connecting the RED Mini-USB-to-USB cable (790-0230) between
REDMOTE and a computer or a cell phone charger.
NOTE: The REDMOTE can be charged using the Mini-USB connector while connected and controlling a
camera wirelessly.
NOTE: If the computer / cable / hub do not provide enough voltage, the REDMOTE will not charge
and show an "Error Charging" message.
1. Connect the USB connector to any computer (computer must be ON to charge REDMOTE).
2. Connect the Mini-USB end to the REDMOTE USB Port located on the lower right side (under rubber
protective cover).
3. If the REDMOTE is powered down (and paired camera is OFF), the REDMOTE will power UP, display
STARTING UP, display SEARCHING (with flashing Green LED), then settle into IDLE mode.
4. Green battery indicator will blink, indicating REDMOTE is charging.
5. A fully discharged REDMOTE battery will be fully charged in approximately 6 hours.

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UPGRADING REDMOTE FIRMWARE
The REDMOTE update utility allows you to upgrade the firmware on your REDMOTE.
NOTE: After firmware has been upgraded, the REDMOTE must be paired to the camera again.
SETUP
CONFIGURING REDMOTE CONNECTION WITH COMPUTER (MAC)
The first step in upgrading REDMOTE firmware is to establish communication between the MAC and the
REDMOTE.
1. Connect a USB to mini-USB cable between the computer and the USB connector on the
REDMOTE.
2. Go to System Preferences and choose Network. This may open automatically when the REDMOTE
is connected.
3. Look for a device called RNDIS/ ...Gadget.

4. Change Configure IPv4 setting to Manually (as shown).
5. In the IP Address field, enter 192.168.0.1 (as shown).
6. In the Subnet Mask field, enter 255.255.255.0 (as shown).
7. The Status should change to Connected after changes.

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NOTE: After entering the IP address as shown above you may not connect during the upgrade
procedure. When you go back and check the IP address you see that it is 0.0.0.0 HOWEVER the
status of the device is shown as Connected.

If this is the case, you may need to enter the IP address a second or possibly a third time to make
it stick.
8. Click Apply at the bottom of the Network window.
9. Proceed to UPGRADING REDMOTE FIRMWARE.
UPDATING REDMOTE FIRMWARE
The following information will guide you through proper updating of your REDMOTE firmware.
MAC
1. Download the camera upgrade EPIC_vX.X.XX zip file located at http://www.red.com/support.
2. The file will unzip automatically when downloaded. The REDMOTE Upgrade is located in this
download.
3. Navigate to the downloads folder and open the newly created EPIC_vX.X.XX folder; or open it
directly from the downloads window.
4. Open the REDmoteUpgrade_vXXX folder.
5. Open the MAC folder.
6. Double-click the REDmoteUpgradeApp. A Terminal window will open and the REDMOTE Software
Wizard will open.

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7. Click Connect. When REDMOTE has been established, Connection to REDMOTE has been
achieved will be displayed.
NOTE: If REDMOTE does not connect, verify that the IP address set under CONFIGURING
REDMOTE CONNECTION WITH COMPUTER (MAC) has held. If not, enter it again as outlined in
the procedure.

8. Click "Select File" and navigate to the redmote.1.bin file located in the REDmote_firmware_vXXX
folder.

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9. Select "Start upgrade".

10. File transfer status will be displayed as a Blue bar.
11. Updating Firmware will be displayed with a Green status bar showing upgrade progress.
REDMOTE will also display UPGRADE during this process.

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12. Once the File Transfer Status is completed, the REDMOTE Software Wizard will display Please Wait
and Dont Unplug Firmware Upgrade is in Progress on REDMOTE.

13. After a few more seconds, the REDMOTE Software Wizard will display Firmware Upgrade
Successfully Done. Select OK.

14. The REDMOTE Software Wizard will disconnect from the REDMOTE.
15. REDMOTE will reboot.
16. REDMOTE upgrade is complete. REDMOTE will display POWER UP, then SEARCHING once the
upgrade has completed. Finally displaying Camera: RESCAN and going into IDLE mode.

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17. Verify the current REDMOTE firmware version by selecting SETUP > SETUP SYSTEM on the
REDMOTE.

18. REDMOTE upgrade is complete. You can now reconnect to the camera.
NOTE: Pairing of the REDMOTE may not be necessary after upgrading the REDMOTE firmware,
however after upgrading the camera firmware, you must pair the REDMOTE again.
WINDOWS
Install Upgrade Utility
This procedure outlines installation of the REDMOTE Upgrade Utility for Windows computers.
1. Download the REDMOTE Update zip file to your desktop.
2. Uncompress the zip file.
3. Open the newly created folder.
4. Double-click on the REDMOTE_upgrade_setup.exe file to install the program.
5. Select I Agree to the license agreement.

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6. On the Choose Components screen, select Install REDMOTE Firmware.
7. Select Next.

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8. Choose location to install the REDMOTE Upgrade Utility .

9. Choose the location for the shortcut.

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10. The program will now install. A progress bar is displayed while installing. When complete, select
Close.

11. The REDMOTE Upgrade Utility installation is complete.
Upgrading REDMOTE Firmware
The following information will guide you through proper upgrading of your REDMOTE firmware on
Windows computers using the REDMOTE Upgrade Utility.
1. Connect a USB to mini-USB cable between the computer and the USB connector on the
REDMOTE.
2. Ensure the REDMOTE wakes up and displays the Total Cameras Found screen.
NOTE: When properly connected to the PC, the battery charge indicator will be Green and blink.
3. Under Programs, locate REDMOTE_update and open the program.
4. The REDMOTE Upgrade Utility window will open.

5. Select Connect to establish communication between the REDMOTE and REDMOTE Update.

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NOTE: If when connecting, communication is not established quickly, close the Upgrade Utility,
open it again and select Connect again. This may have to be repeated a few times until
communication is established.
6. When connected, Connection is Established with REDMOTE is displayed.

7. To begin upgrade, click on Select File.
8. Navigate to the *.bin file for updating the REDMOTE firmware.
NOTE: If you choose an incorrect file, click on Select File again to locate the correct file.
NOTE: Only one file can be added for upgrade.

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9. The selected file is shown in the window. In this case the selected file is: REDmote.1.bin.

10. After selecting and verifying the correct file for upgrading the REDMOTE, select Start Upgrade.
11. During the upgrade, the REDMOTE Software Wizard will display Please Do Not Unplug as well as a
status bar showing File transfer progress.

12. During the upgrade, the REDMOTE will display Upgrading Firmware as well as a status bar
showing upgrade progress.

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13. When upgrade is complete, the REDMOTE will automatically reboot and display REBOOTING on
the screen.

14. The REDMOTE Software Wizard will display Firmware Upgrade Successfully Done.

15. Verify the current REDMOTE firmware version by selecting SETUP > SETUP SYSTEM on the
REDMOTE.

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16. Select Disconnect on the REDMOTE Upgrade Utility.

17. REDMOTE firmware upgrade is complete.

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APPENDIX G: 3D SETUP / OPERATION
OVERVIEW
The following information outlines basic procedures to connect two RED DSMC cameras together in a
Master / Slave configuration for 3D operation, operation of cameras in Master / Slave configuration and
clip naming conventions for clips recorded on those cameras. The MASTER camera will control only the
METADATA parameters of both cameras. On the SLAVE camera, any other setting outside of these will
need to be manually changed before recording.
CAMERA SETUP
Select one camera to be designated as Master and a second to be designated as Slave.
NOTE: Cameras can also be set up in a MASTER / MASTER and SLAVE / SLAVE configuration. To
set as MASTER / MASTER select ALL under TARGET for both cameras. This will allow either
camera to make METADATA changes and control record start/stop of both cameras. To set as
SLAVE / SLAVE select NONE under TARGET for both cameras. This allows each camera to
control its own METADATA.
MASTER CAMERA
Perform the following steps on the Master camera:
1. Go to SECONDARY MENUS > SETTINGS > SETUP > COMMUNICATION > NAME and give the
camera a unique NAME (CAM A, LEFT, etc).

2. Under TARGET select ALL.
3. Give the camera a unique IP address.
4. Go to SLAVE CAMERA.

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SLAVE CAMERA
Perform the following steps on the Slave camera:
1. Go to SECONDARY MENUS > SETTINGS > SETUP > COMMUNICATION > NAME and give the
camera a unique NAME (CAM B, RIGHT, etc).

2. Under TARGET select NONE.
3. Give the Slave camera a unique IP address different from the Master.
CLIP NAMING CONVENTIONS
REEL NO. / SLATE (CAMERA ID) / CAMERA POSITION
Before shooting in Master / Slave or Master / Master configuration for a Stereo / 3D production, make
sure the Camera Slate (i.e. Reel No. and Cam ID) are set to the same value for both Master and Slave
cameras. Then change the Cam Pos value from the system default of CENTER, to either LEFT or RIGHT
to identify the "left eye" and "right eye" camera in the stereo pair.
The Reel No, Cam ID and Cam Pos can be set when formatting the media or after formatting by using
the SET option. Refer to SECONDARY MENUS > MEDIA.

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For example, if Master is set to LEFT and Slave is set to RIGHT and both Cam IDs are set to S, the first
clip recorded by this stereo camera configuration will be:
- Master: S001_L001_0503B6.R3D
- Slave: S001_R001_0503R7.R3D
Where 0503 represents 05 March, B6 and R7 are examples of camera generated wildcard characters.
Note: If both Master and Slave cameras are accidentally left in default settings of CENTER and
CAM A ID, the clips recorded on each camera will have the same file structure, with the exception
of the camera generated wildcard characters which protect against exact file name duplication:
- Master: A001_C001_0503B6.R3D
- Slave: A001_C001_0503R7.R3D
CONNECTING CAMERAS
1. While still powered up, interconnect the cameras using a Master/Slave GIG-E Cable P/N 790-0163.
Plug the cable into the GIG-E connector on the rear of each camera body..

2. Power down both cameras, then power back up. If properly connected, LAN will illuminate Green on
the UI.
3. Connect a SYNC cable P/N 790-0154 to each camera and connect as to your 3
rd
party device.
Yellow BNC connector is for SMPTE unbalanced Timecode input.

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Green BNC connector is for Tri-Level Sync (Genlock) input.
White BNC connector is a dual-purpose (Shutter SYNC input or GPI) input.
4. Go to SETTINGS > SETUP > GPIO/SYNC > SYNC MODE and select GENLOCK.
5. Verify the cameras project frame rate matches the Genlock and Timecode generator(s) framerate(s).
6. When properly connected and synchronized, TC, GEN and SYNC will illuminate Green on the UI.
OPERATION
CHANGING SETTINGS
When changes are made to the Master camera settings, the Slave camera setting will also change, but
not in real-time. For example, when you change the Frame Rate on the Master camera, you will not see
the change on the Slave camera until you set the Master camera at the new Frame Rate.
Also when making changes to the Secondary menu settings, the Slave camera will not display those
changes unless it affects items displayed on the main screen (example: when HDRx is enabled on the
Master camera, HDR will change to HDRx on the Slave camera).
RECORDING
When the power/record button is pressed on the Master camera to start/stop recording, the Slave
camera will also start/stop recording.
POWER DOWN
When the Master camera is powered down using the Secondary Menu > Power, the Slave camera will
also power down.

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APPENDIX H: EXPOSURE USING FALSE COLOR AND ISO
NOTE: The following section uses a RED ONE camera display to illustrate exposure tools;
however, the same principles apply to RED DSMC camera systems.
RED DSMC cameras provide several advanced exposure indication tools. In the following examples, we
will show how these tools respond to a reference scene that is under-exposed, over-exposed and then
correctly exposed. Each scene will have its unique characteristics so the correct exposure is a matter
of judgment, balancing the desire to avoid clipping any highlights and also avoiding underexpose of
elements in deep shadow which may therefore be prone to noise when developed in post-production.
The following reference scene includes highlight and shadow elements and was shot at ISO 800.
UNDEREXPOSURE (~ 2 STOPS)

ISO 800 - Monitor Output
In the image above it is obvious the camera is under exposed. The initial clues are the monitor is very
dark, and the histogram is justified to the left. Also note that red bar at the left edge of the histogram and
the vertical color stack to the right of the histogram is only at grey. These indicators are saying a
significant amount of the senors RAW data is in the noise and that the peak level of the sensors RAW
data is at a very low level in fact less than halfway.

224 224 224 224

ISO 800 - False Color: Exposure
Select False Color Exposure: note the E icon in the GUI when active. This mode allows us to
visualize where in the image underexposure is taking place. These areas are indicated in purple. It is
clear those areas are under the matchbox and coin, and between the bottle and cigar holder.

ISO 800 - False Color: Video

225 225
Select False Color Video: note the V icon in the GUI when active. This mode allows us to check the
RGB video levels of the scene. As the peak white chips on the test chart are showing up in green and
the underexpose areas are showing up in dark blue, this says the monitor path video levels are only
ranging between 44 IRE and 1 IRE.
Because the scene is under exposed, when the recorded .R3D file is color corrected in post-production,
the scenes highlight information will certainly not be clipped, however the shadow information will
probably display with significant noise once pushed to an acceptable brightness.
OVEREXPOSURE (~ 2 STOPS)

In the image above it is obvious the camera is over exposed. The monitor is very bright and the
histogram is justified to the right. Note the red bar at the right edge of the histogram and the vertical
color stack to the right of the histogram is showing red plus the three traffic lights to the right of that are
all illuminated. These indicators are suggesting that a signification portion of the sensors RAW data is
at clip, and this clipping is occurring on Red, Green and Blue channels.

226 226 226 226

visualize where in the image over exposure is taking place. These areas are indicated in red. It is clear
those areas are on the highlight on coin, and at the top right edge of the color chip test chart.

227 227

RGB video levels of the scene. As all the white chips on the test chart are Yellow, this suggests that a
significant portion of the monitor path video is at the maximum legal 100 IRE value.
Because the scene is over exposed, when the recorded .R3D file is color corrected in post-production,
the scenes highlight information will almost certainly be clipped, however the shadow information will
probably display cleanly once pulled back down to an acceptable brightness.

228 228 228 228
APPROPRIATE EXPOSURE

In this image, the camera is appropriately exposed for this scene. The monitor is neither very dark nor
very bright and the histogram is spread evenly given that there are bright highlights on the coin we wish
not to blow out. Note that there is no red bar on either the left or the right edges of the histogram and
the vertical color stack to the right of the histogram is at yellow. These indicators suggest that there is no
significant amount of the sensors RAW data in the noise or at clip, and that the peak level of the
sensors RAW data is about 2/3 stop below clipping.

229 229

visualize where there is under exposure (purple) or over exposure (red) in the image. In this case, there is
a very small area of purple under the cracker box, and just a suggestion of red on the highlight on the
coin, which suggested that the sensor is appropriately exposed for this scene.

230 230 230 230

RGB video levels of the scene. The two green squares in the upper right corner of the color chart and
green in the background indicate that the scenes mid grey and skin tone elements, plus peak white and
blacks are all at appropriate levels.
Because the scene was well exposed, when the recorded clip is color corrected in post-production,
sufficient headroom exists for the scenes highlight information to be displayed without clipping, and the
shadow information can be displayed without significant noise, even if the brightness of the shadow
information is pulled up.

231 231
ADJUSTING THE ISO RATING
In the following two examples, the image exposed at ISO 800 rating have had the ISO rating adjusted
first to ISO 6400 and then to ISO 100.
NOTE: Although the image and Histogram both adjust to changes in the ISO rating, the sensor
RAW meters do not change they always indicate what is happening at the sensor level and
hence where the image is truly in noise or at clipping.

ISO 6400 - No Exposure Adjustment

232 232 232 232

ISO 100 - No Exposure Adjustment
In these extreme examples, it is clear that the RGB domain images are respectively very bright and very
dark. The histogram data reflects that, however you can also see that the sensor RAW meters are
unchanged. The exposure at the sensor at this point in time is the same. If you choose to close the iris to
reduce the brightness of the first image you will be reducing exposure at the sensor this biases
exposure in favor of protecting the scene highlight. Alternatively, if you choose to open the iris to
increase the brightness of the image of the second image you will be increasing exposure at the sensor
this biases exposure in favor of minimizing noise in the scene shadows.
The technique is similar in principle to re-rating a film stock. With practice, the ISO rating can be used as
a tool to assist ideal exposure based on the dynamic range identified within the scene.

233 233
APPENDIX I: POST-PRODUCTION
RED workflow is quite easy to understand, especially if you have experience with photographic RAW
image processing, or shoot 16mm or 35mm film followed by a telecine transfer to video for non-linear
video editing and on-line conform.
The RAW data captured by RED cameras has wide dynamic range and color space, so you can freely
change the white balance, adjust exposure and alter highlight and shadow tonality in post-production.
The RED DSMC camera records RAW sensor data using wavelet based REDCODE RAW compression
to REDMAG 1.8 SSD. The compressed RAW data is then transferred from the digital media to a
Macintosh OSX or Windows XP workstation running REDCINE-X PRO post-production software. These
applications do not directly edit or conform the RAW data themselves, but prepare the RAW data for
editing and conforming by RGB domain post-production software applications.
In film processing terms, REDCINE-X PRO act as an integrated film laboratory, telecine, and one light
color corrector. It converts recorded REDCODE RAW data to RGB video, and provides basic one light
image processing and color correction. Using REDCINE-X PRO, footage can also be cropped, resized,
or repositioned.
REDCINE-X PRO can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and
compressed 4:2:2 video formats. For film out, multi-media or special effects applications, REDCINE-X
PRO may export a sequence of 2K or 4K image files in TIFF, Open EXR, DPX, JPEG, or Photoshop PSD
file formats.
Provided the appropriate QuickTime codecs are available on the host computer workstation,
compressed video choices include ProRes, DNxHD, DV100 and M-JPEG QuickTime movies at 1080p or
720p resolution, providing compatibility with the majority of non-linear editing systems.
Depending on the QuickTime movie resolution, material may be taken directly to a broadcast delivery
videotape format, or after the editorial decisions have been made, video can be conformed at full image
resolution by replacing the lower resolution edit proxy with a high resolution 4K, 2K or 1080p image file.
MONITORING
When using RED Digital Cinema software tools it is recommended your monitor should be set to Adobe
1998, or to SMPTE-C display profile. If you use the HD Cinema display profile, adjust the gamma to 2.2.

234 234 234 234
REDCINE-X
PRO
REDCINE-X PRO is available for Intel based Mac OSX and Windows XP platforms. The application
performing white balance and one light color correction, image pan/scan, crop and scaling operations.
The application can export either a single clip, or a sequence of clips, as 4K or 2K resolution 10-bit DPX
or 16-bit TIFF files. REDCINE-X PRO can also render clips into standalone QuickTime movies using a
variety of video codecs including H.264, Apple ProRes and Avid DNxHD

REDCINE-X PRO is available for download at http://www.RED.com/support. The REDCINE-X PRO
Operation Guide Is included with the download package.

235 235
APPENDIX J: MAINTENANCE
WARNING: DO NOT attempt to modify, dismantle or open your camera, lens or other accessory
as doing so may expose you to electric shock and serious injury. There are no user-serviceable
parts inside. Alteration or repairs made to the camera, lens or other accessory, except by a RED
authorized service facility, will void the Limited Warranty.
CLEANING
All RED products are designed for rugged durability, but precision instruments demand proper care.
Please note the following care guidelines:
WARNING: DO NOT rinse or immerse any element of the camera, lens or other accessory, keep
them dry at all times.
WARNING: DO NOT use soaps, detergents, ammonia, acetone, alkaline cleaners, abrasive
cleaning compounds, or solvents. These substances may damage lens coatings and electronic
circuitry.
CAMERA AND ACCESSORY EXTERIOR SURFACES
Clean ONLY using a dry cloth. When cleaning your camera and accessories, remember that it is not
waterproof and moisture can damage electronic circuitry.
BRAIN
OPTICAL LOW-PASS FILTER (OLPF)
If equipped with an OLPF, use Delkin Devices Digital Duster Kit (P/N DDSS-DUSTER2) or equivalent to
clean OLPF surface.
LCD SCREEN (TOUCHSCREEN / NON-TOUCHSCREEN)
The specialized AR and AS coatings on RED TOUCH LCD displays must be treated with special care to
avoid scratching. To help maintain the specialized AR and AS coatings on RED TOUCH LCD displays,
the RED TOUCH LCD comes with a RED Microfiber bag for cleaning and storage. Using it will preserve
the superior quality of these coatings. Hand wash and air-dry the RED Microfiber bag regularly.
NOTE: REDs warranty does not cover any LCD display against scratches or damage due to use
of improper chemicals to clean the LCD.
ONLY USE a RED Microfiber bag or equivalent Photographic Solutions PEC*PADs (P/N 05011) and
Isopropyl Alcohol (>95%) or equivalent Pancro Professional Lens Cleaner (P/N PANCROCLN) to clean
the screen on Touchscreen and Non-Touchscreen LCDs.

236 236 236 236
DO NOT USE any other solvents, chemicals or third party cleaning kits because they have not been
tested on RED TOUCH LCD displays and can possibly damage them. Not approved for use on RED
TOUCH LCD displays:
Rubbing Alcohol
Isopropyl Alcohol (<90%)
Windex
Pre-packaged lens cleaner containing any additives, such as detergent, anti-static, fragrance, etc.
For proper cleaning and storage, remember to protect the RED TOUCH LCD by storing it in the RED
Microfiber bag.
EVF
Use Pancro Professional Lens Cleaner (P/N PANCROCLN) and Photographic Solutions PEC*PADs (P/N
05011) or equivalent to clean the viewfinder lens. Ensure your spray the solution onto the pad and not
directly onto the lens surface.
REDMOTE SCREEN
05011) or equivalent to clean the screen on Touchscreen and Non-Touchscreen LCDs.
LENSES
05011) or equivalent to clean the viewfinder lens. Ensure your spray the solution onto the pad and not
directly onto the lens surface.
SIDE HANDLE LCD
05011) or equivalent to clean the screen on the Side Handle LCD.

237 237
BACK FOCUS ADJUSTMENT
WARNING: THERE IS A SCREW-IN METAL PLUG INSTALLED IN THE CAMERA BODY COVERING
THE BACK FOCUS SCREW. THIS PLUG MUST BE REMOVED BEFORE PERFORMING A BACK
FOCUS ADJUSTMENT. TO REMOVE THE PLUG, USE A T-10 TORX SCREWDRIVER.
NOTE: To perform this procedure as written, you must have a PL mount and RED Focus.
Back focus is adjusted by turning the back focus adjustment on the top of the cameras front plate using
a T-10 Torx screwdriver. This screw is indicated by a Siemens Star with an arrow pointing to its location.

Back Focus Adjustment Location
1. Remove the screw-in plug located in the back focus adjustment opening using a T-10 Torx
screwdriver.
2. Place the camera on a level, stable surface or mount the camera on a tripod.
3. Install RED Focus to the camera PL mount.
a. Remove the camera lens or sensor cover if equipped.
b. Install RED Focus onto the camera in the position shown.
c. Ensure RED Focus is secured to the camera with the camera lock ring.

RED Focus Properly Installed on Camera

238 238 238 238
4. Power up the camera.
5. Power up RED Focus. Refer to POWER UP / DOWN.
NOTE: Remember that RED Focus will AUTOMATICALLY power down after 3 minutes. Press
the Red button on the front to power back up.
6. Set the camera to Magnify. Go to SECONDARY MENUS > SETTINGS > DISPLAY > FALSE COLOR
> MAGNIFY.
NOTE: The Focus option located under SECONDARY MENUS > SETTINGS > DISPLAY >
FALSE COLOR > FOCUS can serve as a good double-check for proper focus during this
procedure.

RED Focus Displayed Image on Camera
7. Insert a T-10 Torx screwdriver into the back focus adjustment screw. The screw is oriented at
approximately 80 as shown.

Performing Back Focus Adj ustment

239 239
8. Carefully and slowly, rotate the back focus adjustment screw to achieve optimum focus.
- Turning CLOCKWISE moves the sensor forward.
- Turning COUNTER-CLOCKWISE moves the sensor rearward.
NOTE: The center of the image will never be in perfect focus as the lines are less than 1/3 of a
pixel in size.
9. The back focus adjustment mechanism is self-locking, and does not require a supplementary locking
screw.
10. Install the screw-in plug in the back focus adjustment opening using a T-10 Torx screwdriver.
11. This completes the back focus adjustment.

240 240 240 240
APPENDIX K: TROUBLESHOOTING
NO MEDIA ATTACHED
Displayed if media is not present or not formatted when pressing the record button. Connect media to
camera if necessary. If media is already connected, format media and attempt to record again. Refer to
APPENDIX B: MANAGING DIGITAL MEDIA for detailed information.
RECORDING HALTED: RECORD ERROR - SHUTDOWN
Displayed if media removed while recording. DO NOT remove media while camera is recording. Power
down the camera, verify the media is inserted properly (inspect connectors for damage), power up and
resume recording.
PRESET COULD NOT BE APPLIED
If the preset could not be applied, Preset Could Not Be Applied will appear to inform you. Power down
camera, power back up and attempt to apply the preset that failed.
CAMERA CANNOT BE PAIRED TO REDMOTE
Ensure REDMOTE display indicates IDLE before attempting to pair the camera to the REDMOTE.
Ensure the REDMOTE is detached from the rear of the camera body and powered on.
Ensure the REDMOTE wireless in turned on.
Ensure camera does not display REDLINK Upgrade Required.
CANNOT SEE MENUS ON LCD TOUCH SCREEN
Double tap the LCD screen to exit clean mode.

241 241
APPENDIX L: TECHNICAL SPECIFICATIONS
SENSOR 14 MEGAPIXEL MYSTERIUM-X
PIXEL ARRAY 5120 (h) x 2700 (v)
S/N RATIO 66db
DYNAMIC RANGE 13.5 stops, up to 18 stops with HDRx
MAX IMAGE AREA 5120 (h) x 2700 (v)
LENS COVERAGE 27.7mm (h) x 14.6mm (v) x 31.4 mm (d)
DEPTH OF FIELD Equivalent to S35mm (Motion) / APS-H (Still) lenses
Equivalent to 16mm (Motion) lens in 2K RAW
ACQUISITION FORMATS 5K: RAW, HD, 2:1, WS, and ANA
4K: RAW and HD
3K: RAW and 2K
2K: RAW, WS, and HD
1K: RAW, HD, and WS
5K: RAW, HD, 2:1, WS, and ANA
4K: RAW and HD
PROJECT FRAME
RATES 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions
DELIVERY FORMATS* 4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG
Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
PROGRAM OUTPUT HD-SDI Clean Feed
2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
MONITOR OUTPUT HD-SDI and HDMI with Frame Guides and Look Around
2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA REDMAG (SSD) Module : (64, 128, 256, and 512 GB Media)
REDCODE 12 and 16-bit RAW : Compression choices of 18:1 to 3:1
1-120 fps 5K, 4.5K; 1-150 fps 4K; 1-200 fps 3K; 1-300 fps 2K
AUDIO 2 channel, uncompressed, 24 bit, 48KHz.
Optional 4 channel, and AES / EBU digital audio.
MONITORING OPTIONS RED LCD 5" Touchscreen Display
BOMB EVF High Definition Viewfinder
REMOTE CONTROL Wireless, Ethernet, RS232, GPI Trigger
WEIGHT 5lbs. Body only
CONSTRUCTION Aluminum Alloy
TEMPERATURE
RANGES Operating Range: 0C to +40C (32F to 104F)
Storage Range: -20C to +50C (-4F to 122F)

242 242 242 242
CAMERA BRAIN DIMENSIONS

Front View

243 243

Side View

244 244 244 244

Top View

Bottom View

245 245

Back View

246 246 246 246
APPENDIX M: RESOLUTION CHART

247 247
APPENDIX N: MENU MAPS
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955-0002_v3.3, Rev-B COPYRIGHT 2012 RED.cm, Inc.

PRO ............. 234

are registered trademarks of Apple, Inc. Intel

and Windows Vista

are the registered

is a registered trademark of Avid Technology, Inc. NUKE is a

is a registered trademark of Textron, Inc. Canon

are registered trademarks of Canon Kabushiki Kaisha Corporation.

Digital Still and Motion Camera.

PRO application software can create and export .RMD color

battery will run the camera and accessories for about 30

, and CURVE metadata values. These

QUICKPLATE to Camera 18 in. (0.5m)

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